Osamu Kitajima ~ Japan

Dragon King (1981)

Picked this one up at an estate sale last week, and it's the first Kitajima album for me to hear outside of Benzaiten which is reviewed below.

A1 starts off with some disco strings and Japanese instruments. Closer to a novelty act than the seriousness of Benzaiten. The track improves though with some world fusion sounds. A2 is a highlight featuring some excellent Shakuhachi (Japanese flute). 

Then it's time to pay the bills lol. The next two tracks sound more like Peaches & Herb with Japanese traditional instruments sometimes used to supplement. There's the difference between 1976 and 1981 right there. No bueno. 

B1 is a return to form and, like A2, is a highlight mixing jazz fusion with Japanese culture. Then the poppy vocals reappear for the rest. I think what Kitajima was trying to achieve was a noble pursuit. However, the mix and match of styles is hokey at best. It's way too commercially oriented for fusion fans to take seriously. And it certainly wasn't going to find its way onto FM radio either. A failed experiment.

Source: 1981 Arista (LP)

5/21/26 (review)

Benzaiten (1976)

For the CDRWL I featured some extremely rare albums by Toshiaki Yokota (Primitive Community) and Rock Joint Biwa (Fulukotofumi). Kitajima's debut album fits squarely in the same mold. This is truly a world fusion - a melting pot of Western rock and Japanese indigenous music. Very few have pulled it off so well as Kitajima does here. Either they fall prey to new age sappiness, or worse, move towards amateurish exploitation. This is a serious work, and the type of rock influenced world music that still hasn't been explored much at all. I for one would like to hear more.

Ownership: 1976 Antilles (LP). Acquired in 1990.

1990; 2/23/11 (review)

5/21/26 (new entry)

Kenso ~ Japan

An Old Warrior Shook The Sun (2024)

Continuing on with some exploration of new titles, that started with Jordsjo last week, we arrive at Kenso's latest. It has been ten years since Kenso offered us new material. It was also at that time I decided to write a complete band retrospective, that took over a month to complete. It's all documented below. Also, curiously, I haven't revisited any of those titles since either, excepting Kenso II a couple of years later. They're all due for one. Interesting to see the group using an English title, been many a year since they did that. Most of the song titles are in Kanji however.

The opening track is distilled Kenso. Their entire 50 year, 10 studio album legacy, all compiled into one 3:49 song. High energy, hard hitting, instrumental progressive rock, with a strong melodic sense. No one does it better. And seriously, if you've never heard Kenso before, you really will get an idea of their overall sound right here. Might save you some time and expense. :-) 

Be prepared for a busy and complex release. As with all Kenso albums, they are masters of the composition, and they throw a lot at you in a short period. No genre hopping or other gimmicks, but rather numerous changes that mesh seamlessly, all within the context of the song. They also continue to bring it in terms of hard charging rock, especially notable in the guitar, bass, and drums. While the music here is entirely familiar, it still sounds very unique. 

Kenso possesses a type of magic, one that very few groups have ever managed to achieve. The ability to stay exciting and relevant, even after five decades of doing - more or less - the same thing. I feel the same way about Iron Maiden. This isn't the constant evolution of a band like Embryo, but rather innovations-in-place.

I recognized the beautiful sounds of track 9 immediately. Sure enough, after matching the Kanji, it's a modern rendition of 'Hyoto' from Kenso II. 

As noted in my closing argument for Uchinaru Koe Ni Kaiki Seyo: "Reliable as they come, Kenso are. Yep."

Ownership: 2024 Nexus (CD). Tri-fold booklet with lyrics in Japanese and English, and recording details.

11/17/25 (acquired / review)
 

Uchi Naru Koe Ni Kaiki Seyo (2014)

And after another lengthy break of eight years, Kenso returns with their 9th studio album Uchinaru Koe Ni Kaiki Seyo. Breaking tradition, for Kenso that is, the band have returned with an album that is in large part a followup to the previous work. So no major changes in direction here with fusion, hard rock, avant progressive - but rather the band seems to have found a comfy spot on the sofa to sit on. And that sweet spot, as it were, is their patented instrumental symphonic progressive rock that they first put on display so proudly on Kenso II. The flute, however, is sadly long gone and that was a critical component to their early 80s sound. They have also chosen to close with yet another female vocal track, this time in the form of a more classically leaning soprano. The underlying music, though, is unmistakably Kenso (even if there's a bit of funky business, to give us the requisite curve ball). If I were to pick a highlight track, I would go with 'Voice of Sankhara' which represents the album well in concise form. So while Uchinaru Koe Ni Kaiki Seyo doesn't break new ground, or leave one's jaw on the floor, Kenso have definitely delivered yet another solid set of modern instrumental melodic rock tunes. Reliable as they come, Kenso are. Yep.

Ownership: 2014 Nexus (CD)

10/1/14 (acquired / review)

Utsuroi Yuku Mono (2006)

Kenso’s career has taken them to many different styles and genres over the years. Their 8th studio album Utsuroi Yuku Mono sees Kenso consolidate what they do best, and offers up no less than 17 tracks of tightly structured symphonic fusion, where melodies are treated with respect. While perhaps not as exhilarating as Fabulis Mirabilibus de Bombycosi Scriptis, there's no doubting this is Kenso, and their full-on tightly woven progressive rock sound is very much intact. The final three part track (entitled 'Codon' parts 1-2-3)  - and totaling only seven minutes combined - are a complete departure from this album and Kenso's sound in general. They are in fact a rock based interpretation on Flamenco music with its vocal tradition (by a female in this case). Perhaps they should have been labeled as bonus tracks, but then again the cover features a pretty Japanese lady adorned in traditional Andalusian costume, so who knows? Whatever the case, these being the final tracks, I feel they leave a confusing mark on an otherwise typically great Kenso styled instrumental symphonic album. Listen to the first 14 tracks and rate on those before embarking further.

Ownership: 2006 Nexus (CD)

3/5/07 (acquired); 9/27/14 (review)

Fabulis Mirabilibus De Bombycosi Scriptis (2002)

After some experiments with fusion, new age, and hard rock, Kenso return to symphonic progressive form on Fabulis Mirabilibus de Bombycosi Scriptis, but blasted through the wall as if they suddenly merged with Happy Family. So the songwriting is at the same high level as Kenso II but mixed with a modern ferocity not usually associated with the group. This is an exhilarating album that is at once complex and yet heavy as hell. And melodic. The production is absolutely stellar, something that was hamstringing the group throughout their last three studio albums. If you're looking to start somewhere with Kenso, and like a little muscle to go with your romantic progressive sounds, then be sure to go with this one. A stunner.

Ownership: 2002 Nexus (CD)

2002 (acquired); 1/15/10; 9/20/14 (review)

Ken-Son-Gu-Su (2000)

As if the band was responding to the criticism of the three previous studio albums, Kenso released the dynamic live album Ken-Son-Gu-Su - showcasing the band's enormous talents at their most raw and energetic. No gloss or production tricks here. Just the band's compositions played live and served up for judgment by a live audience, who appear to be lapping up every minute of it. Recorded on April 30, 2000 for the band's 25th anniversary at On Air East in Tokyo. Starting with none other than the band's defining track 'Umi' (The Sea) from the debut, Kenso go on to lay the concert hall to waste. This is followed by 'Anasthesia Part 2' (aka Masui), with its devastating keyboard runs and melodic lines, taken from their most arguably progressive album Kenso II.  Following this is the moody and Japanese indigenous sounding 'Hyoto' (Frozen Island), just as it is on the Kenso II album - the two tracks forever linked like Santana's 'Black Magic Woman' and 'Oye Como Va'. Kenso II's opener 'Sora ni Hikaru' (Shining in the Sky) follows, putting the concert goers back on their feet, while engaging their brains in overtime. Moving along in chronological fashion, the fusionesque 'Beginnings' from Kenso III is presented, demonstrating an entirely different sound and outlook from the band. A pretty song in its own right, one very much worth including in this greatest hits live show - as it were. It's nice to see Kenso not shy away from their various style experiments over the years. And now for the first break on the linear curve, as Kenso looks back to their smoldering Kenso II closer usually known as 'Sayanora Proge' (aka Goodbye Prog), but here called by its Premiata Forneria Marconi styled name 'Arrivederci', which is appropriate considering the musical reference. Since the band was rocking out, time to get the audience grooving on their (at the time) new hard rocking and Led Zeppelin influenced Esoptron album with a track they call 'Festivity', which appears to be a much shortened version of the album's opener 'Kojinteki Kikyū'. This is followed by two more progressive, yet no less rocking, fusion cuts 'Gips' and 'Negai Kanaeru Kodomo Tsurete Yukō' from the same album. I was hoping Kenso weren't going to overlook their very fine Yume No Oka album, and of course they don't, playing for the crowd the album's lovely piano laden and expressive guitar closer 'Les Phases de la Lune II' followed by a rousing rendition of the superb 'The Ancient in My Brain', arguably one of Kenso's best compositions to date. After this, the band takes one more shot at their hard rocking current album with 'Zaiya Kara no Kikan'. The concert closes, oddly enough, with the first two tracks from their least rated 1989 album Sparta. If there's ever an album where the live experience will likely improve upon the original, it's Sparta. Both tracks demonstrate the compositions were solid, but that the production castrated the potential. Overall Ken-Son-Gu-Su works as both a fiery live concert and as a greatest hits album - and is an excellent place to start with the band if you're new to them.

Ownership: 2000 Pathograph (CD)

4//01 (acquired); 9/18/14 (review)

Esoptron (1999)

It would be another eight years before we heard from Kenso in the studio again. Most assuredly they would come back with their patented blend of European instrumental symphonic meets hard hitting fusion sound? Nope. How about Led Zeppelin?(!) Instrumental heavy blues rock with hard rock guitar and even a little flute, and in the case of the latter, one does have to call out Jethro Tull. The two keyboardists here provide synthesized sounds meant to represent the analog sounds of the 70s (i.e. Hammond organ, Mellotron, Mini-Moog (though I think it is actually a Mini-Moog)). The mid 80s fusion of Kenso III are here in abundance as well, though still filtered through a hard rock lens. There's even some hints of turn of the century Shibuyu-kei ('Chishiki o Koete'). Melodically, the music is unmistakably Kenso, despite all the stylistic trimmings. One complaint I do have about the album is the production, not usually an issue when it comes to Kenso - though as stated in earlier reviews, they could be a bit too slick. It's as if this is their response to the over digitized and professional gloss of Sparta and Yume No Oka. So they decided to purposely "muddy things up" a bit. As if to give it an authentic 70s edge. In 2014, many bands have mastered the art of the 1973 production method. In 1999, only a handful really had a grasp on it - and Kenso weren't one of them. So it sounds like a sludgy 90s digital recording failing to capture the spirit of another age. This does distract the listen somewhat. At the time of release, the album didn't quite live up to Kenso's lofty reputation they enjoyed. I have to say, in retrospect, it still doesn't. That isn't the same thing as saying this is a poor effort. Far from it - and is definitely worthy of ownership. To my ears, this is Kenso trying not to be Kenso. So if you're new to the band, don't start here. 

Ownership: 1999 Nexus (CD)

10//99 (acquired); 9/15/14 (review)

Yume No Oka (1991)

Yume No Oka, Kenso's 5th studio album, shows the band reflecting back to their more symphonic era of Kenso II, with a strong nod of high gloss fusion that adorned Kenso III. I remember when this was released, and my friends and I were all quite enamored and impressed by the tones and complexity proffered. In the cold reflection of hindsight, perhaps it still has a bit too much of that late 80s and early 90s digitalitis, though overall it's held up well especially among its peers. Tracks like 'The Ancient in My Brain', 'Mediterranean and Aryan', 'Alfama', and 'The Fourth Reich' are timeless - and all pack a strong punch. Certainly one of the best pure progressive rock albums from 1991.

Ownership: 1991 Electric Bird (CD)

1992 (acquired); 7/7/06; 9/5/14 (review)

Kenso III (1985)

As foreshadowed on Kenso II, Kenso's third album goes all-in towards a powerful digital instrumental fusion sound. If there's ever an album that proves that modern technology didn't ruin progressive rock by itself, it's this one. The songwriting once again is top notch, and the compositions are complex yet melodic. The slicker tones do not detract, and everything sounds perfect for the music Kenso are trying to achieve here. As with the earlier Kenso albums, there's a myriad of ideas present within any bar of music, thus keeping the listener attuned at all times. While Kenso III doesn't quite hit the heights of its predecessor, no fan of instrumental symphonic fusion will want to miss this one.

Ownership: 1985 Nexus (LP)

My first copy was also this version of the LP acquired in 1990. Decided to swap out for the CD (1993 Nexus), but no need for the portable version in my current world. As a bonus it does contain 'Umi' from their debut which was not yet available on CD at the time, but I already have it now.

1990 (acquired); 1997; 9/2/14 (review)

Kenso II (1982)

Kenso II sees the band absorbing from their debut the most European instrumental progressive rock side of their sound. Flute is more dominant, keyboards are confident, and the guitar tones are stronger. The songwriting and melody quotient are off the charts in terms of successful execution. The Asia Minor, Camel, and Rousseau influences that penetrated some of the debut is given more focus, but taken to the next level of intricacy and complexity. And tracks like 'Hyoto' demonstrate that Kenso have not abandoned their Japanese roots and recall the wondrous 'Umi' from the debut. 'Brand Shiko' forecasts their future with its blazing fusion sound. One can see where Kenso may have as well influenced the up and coming talented Hungarian group Solaris. Already by their sophomore work, Kenso were creating beautiful tapestries of sound. This is the definition of instrumental symphonic rock. A magical album.

The bonus tracks on the CD are two cover songs performed live: 'Power of the Glory', a unique instrumental based on Gentle Giant's works, and PFM's 'Four Holes in the Ground'.

Ownership: 

1982 Pam (LP). 

2002 Pathograph (CD). Papersleeve. 

1990 (acquired); 9/1/14 (review); 10/14/16

Kenso (1981)

Kenso, who have archival recordings going back to 1976, released their first studio album in 1981. It's important to note the music culture that Kenso grew up in to appreciate their debut album. By 1980, and flush with cash, Japan had become somewhat a fanatic nation for all things European - including the 1970s progressive rock movement. Italy, in particular, seemed to fascinate the fan / collector base. And it was common for wealthy Japanese businessmen traveling to Europe to come home with box loads of records to sell to the music shops in Tokyo. It is this market that ultimately propelled progressive rock back into the limelight worldwide - and throughout the 1980s, Japan was looked upon as a leading light for all things progressive rock. While there were certainly local bands trying to capture the spirit of what they were digesting, Kenso may very well have been the most successful. And so we hear an almost encyclopedic knowledge of European progressive rock being brought forth - especially albums with flute - bands as obscure as Rousseau, Asia Minor, Gotic, Ibio, and Dice are all clearly within the minds of a young Kenso. Not only that, but they also brought forth their own Japanese legacy to the table, like their landmark track 'Umi' which successfully mixes a Camel like sound with indigenous melodies. As well, the long piece here, the 15+ minute 'Kagome' demonstrates Kenso's appreciation for Japan's own early 1970s psychedelic past - a sound remnant of acts as diverse as Toshiaki Yokota, Food Brain, Far Out, and in particular George Hirota*. Going forward, they would shed the experimental bits and focus more on their accessible instrumental European progressive sound. As such, this album is looked upon as a bit of a departure and perhaps not up the quality of subsequent efforts. I see it as an equal, though a band still clearly seeking out a signature sound. 

Be sure to grab the CD, as it features six live tracks going back to 1976, of which I believe five of them are not represented anywhere else. Essential album if wanting to gain the entire Kenso experience.

* Our good friend Nobuhisa of Marquee (Tokyo) informs us that it is highly unlikely that Kenso would have known these obscure Japanese bands, as they were unknown even to hardcore collectors back then. He states - and most assuredly he's correct, having witnessed the events real time - that basically they came about a similar sound, and he states further "using Japanese motif within the context of western music was a common method for a Japanese musician to make "Japanified Western music" be it modern classical, movie sound tracks, Jazz, Rock / Prog." That makes sense to me as well.

Ownership: 1995 Arcangelo (CD)

6//96 (acquired); 8/22/14 (review)

Also have heard: Sparta; Music For Unknown Five Musicians

8/22/14 (new entry)

Embryo ~ Germany

Bremen 1971 (2003)

Back into my Embryo archival collection. Bremen 1971 comes at a time when Embryo was arguably at their rock band peak. Notice I didn't say group peak in general. As noted below, Embryo's Rache remains my favorite album by the collective, which is an impressive feat considering just how many great albums they've released. And you'll also notice the album sits near the top of My Top 25 Most Important Albums list (see page above on this website).

It is this deep well that the Bremen show draws their repertoire from. The ten and a half minute opener 'Try To Be' starts off in improvisation mode, and appears to be unique to this release. We immediately hear Edgar Hofmann's violin, Hansi Fischer's flute, with Ralph Fischer's driving bass and Burchard's scattered jazz drum style. The end of the song reveals that this is an extended version of 'Sittin' at the Moon', a two minute piece on Rache. This leads, with no break, into a rip roaring and heavily percussive version of the two parter 'Time', each section renamed slightly. Jazz veteran Hofmann then shows his considerable chops on the saxophone. Once again a straight segue leads us to 'Tausendfüßler', the brilliant flute driven opener of Rache. Ralph Fisher's bass is especially prominent in driving the track in an exciting way. The mystery player on the album is guitarist Al Jones. He was the original guitarist for Sinto, a band that took the Latin leanings of Embryo towards a Santana type sound. He is also the guitarist on the lengthy bonus track found on the CD of Father, Son and Holy Ghosts described below. The one key instrument that is missing, however, is organ. Or keyboards in general. These were played expertly by Jimmy Jackson on Rache.

A small drum interlude takes us to the album's centerpiece, a 26 minute improvised version of 'Spain, Yes, Franco Finished' (translated from the original Spanish). No surprise, then, that Embryo was banned from Spain for the next few years, especially after calling for revolution. Fortunately that wasn't needed and Spain eventually assimilated into Europe naturally and peacefully. As for the track itself, the familiar themes are augmented by solos from each of the members. A riveting version.

Hard to imagine, but this concert was played at a high school. Can you imagine Embryo playing at your high school? Such were the times.

Ownership: 2003 Garden of Delights (CD). Booklet with a complete history of the event and the group assembled at that time. Acquired in 2003.

10//03; 11/17/25 (review)

  

Wiesbaden 1972 (2008)

Along with an incredible studio legacy, Embryo also has an impressive amount of live archival material available. I would imagine there's probably even more in the vaults, but who knows. Like with Tangerine Dream or Klaus Schulze, a live album from Embryo might as well be considered a new release, there's so much fresh material to consider. From the beginning of this live set, it's clear that the Steig Aus era is on display. Which is primo Embryo, mixing improvised jazz rock and world music seamlessly. It starts off mostly with individual solos, and somewhere during 'Sunrising' they are in full blown Krautrock mode with Roman Bunka playing his saz wildly and Christian Burchard going crazy on the drum kit. Missing Link's Dieter Miekautsch makes his Embryo debut with his distorted electric piano, starting with, naturally enough, 'Dieter Plays'. Bunka switches to electric guitar giving off a psychedelic feel. And so it goes, with each 'song' segueing into the next without introduction.

Essentially the album plays as a long improvised jam session with underlying tunes sprinkled intermittently from Opal, Rache, Steig Aus, Rocksession, and We Keep On. As a whole, Wiesbaden 1972 is arguably their most psychedelic Krautrock album to surface. Roman Bunka is absolutely on fire throughout.

The last song of the disc is not from Embryo but rather Aus dem Nichts, a related group who followed them on this night. Featuring ex-Embryo member Hansi Fischer along with Xhol Caravan legend Tim Belbe, Aus dem Nichts is considerably more from the jazz school than Embryo at this point. At times sounding like the Lloyd McNeill Quartet given the soft flute opening, the music has a spiritual jazz quality especially once Belbe gets cooking on the saxophone. This is the only known recording from the band, who lasted a couple of years at least. Pity that.

Ownership: 2008 Garden of Delights (CD). Booklet contains a full history and many photographs. Acquired in 2011.

4/11/11; 9/22/25 (review)
 

Rocksession (1973)

---Jun 2005

Does this catch a deep groove and not let go – or what? This can stay at 4.5, but the final piece ‘Dirge’, with what sounds like an electric sitar gone mad, could persuade me to take this to the full 5 stars. Ah, what the hey, it’s free right?

---8/18/25 

Even though I had acquired the LP near the beginning of my magical 1988 deep dive European underground experience (along with some of the other Embryo albums below), it wasn't an initial favorite. There was a time back in 2000 to 2002 that albums like Rocksession really began to click with me. I was writing my best reviews then as I was feeling the music more than ever before. I'm guessing I added the Repertoire CD as a supplement not long after being released (1998), and that's the only reason it didn't get a full blown Semiramis type review from me. Essentially it's a long form jam album. But there's so much more at play here, and you can tell by the interaction of the musicians. It has that same vibe as a Miles Davis album from this era, and the musicianship is very high compared to other bands from Germany at this time. What really makes this album special is that it brings the Krautrock sound and culture to the deep groove Miles style. It's almost pointless comparing Embryo albums of this era as they are all 5 star masterpieces. I'll probably always put Rache first, but Rocksession is as highly ranked in my mind as any other.

Ownership: 

1973 Brain (LP). Gatefold. First press green label with Metronome. Acquired in 1988.

1998 Repertoire (CD). Historical liner notes in German and English. Acquired in 1998.

1988; 1998; 6//05 (notes); 8/18/25 (review)  

Embryo's Reise (1979)

A very important album from my collection. This was the very first Embryo album for me to own, with Embryo's Rache, and Bad Heads and Bad Cats to shortly follow within the same month (from the same store). It was January of 1988, and I'm fresh out of college and hungry for European prog. Of all their albums, this is the one that best blends their future world music excursions with their past jazz rock tendencies. And barn burning opener 'Strasse Nach Asien' may very well be the single best track that blends the two. The two minute 'Paki Funk' is one of those tracks you wished would extend to 15 minutes. 'Lost Scooters' is stunning - one of Roman Bunka's finest contributions. He was truly a gifted songwriter (and singer). The noisy punk rock of 'Es Ist, Wie's Ist' is so anti-Embryo that its placement here is nothing short of brilliant. 'Kurdistan' is another jazz funk piece that I can only hope to hear a 20 minute version of one day. The rest - more or less - goes under the heading of "World Music", though to be fair, it's regionalized. I particularly enjoy the Afghanistan pieces. Hard to imagine what that country once was versus what it was to become. Embryo got there just in the nick of time before the Soviets wreaked complete havoc. The gatefold cover with the libretto is also stunning. So many stories and details. Whatever anyone says about Embryo, no group of people can ever claim to be as committed to a non-commercial stance as these guys. I think they're crazy, and wouldn't put myself through what they did, but my admiration is off the charts. Most everyone else who makes a similar claim is a phony. 54 years of Embryo proves that one can maintain conviction of a virtuous principle without swaying, even though band leader Christian Burchard is no longer with us. I will treasure this LP until the end.

Ownership: 1979 Schneeball (2xLP). Gatefold with booklet. Acquired in 1988.

1//88; 2/3/23 (review)

Umsonst und Draussen - Vlotho 1977 (2017)

Over 12 years ago I wrote the following, while covering the Vlotho 1977 album proper: "'Getalongwithasong' is the requisite Embryo appearance. They are certainly the "name" band in these festivals and they let absolutely no one down. This is a track that would show up on Apo Calypso but in an extended 14 minutes form at that point. Garden of Delights has announced their intention to release Embryo's entire Umsonst concert on CD."

Seven years after I posted that, Garden of Delights came through with that release. And five years after that I finally got around to purchasing it - primarily because the label's product is notoriously difficult to source here in the States. And what of the full concert - did it live up to expectations? Absolutely. You have to be predisposed to like this stage of the band though. The 1975 to '78 era of Embryo is definitely the most user friendly and, dare I say, commercial period for the legendary group. A major reason Embryo are so listenable during this stage lays with guitarist Roman Bunka. He has a good voice - much warmer than the usual English singing from Germans back in those days. And his guitar playing and tone is perfect for this set up. The music is jazz funk - Krautrock style. There's always an edge to their instrumentation. No extreme highs here, just an album that is easy to listen to. Comfort food for established fans. And the music is mostly unique to this release, offering up the same kind of thrill one gets from an archival Tangerine Dream release for example.

Ownership: 2017 Garden of Delights (CD). Booklet with history and photos. Acquired in 2022.

12/9/22 (review)

Embryo's Rache (1971)

Embryo's second album demonstrates a great leap forward from their more psychedelic debut. I do feel it's an album that remains unheralded, as to me it represents the perfect meeting of Krautrock angst, edgy jazz rock, and thought-out progressive rock composition. Embryo were clearly moving the valve from rock to jazz, and Embryo's Rache captures the band in transition, and it's absolutely perfect. I think any band would have a tough time recreating a sound like this, because it represents an evolution verse a greenfield. The opener 'Tausendfüßler' pretty much sums up the contents within considering it's staccato flute, driving bass, and wild keyboard solos. The latter is featured often, mostly from American jazz veteran Jimmy Jackson. Xhol Caravan alumni Hansi Fischer provides the flute, and long time Embryo collaborator Edgar Hoffman adds violin and sax. It's here that Roman Bunka and Christian Burchard layout the blueprint for Embryo's future. Every single note here is perfect for my tastes. 

Not too many people would claim Embryo's Rache to be the band's best effort (Steig Aus will generally stake that claim), but it certainly is mine. And to take it further - it's one of my all time favorite albums, period.

The gatefold cover is also super, with the jester and violin overlooking what one presumes to be a Spanish landscape (referring to the controversial anti-Franco track that opens side 2).

Ownership: 

1971 United Artists (LP). Gatefold. Acquired in 1988.

1993 Materli Sonori (CD). Includes a reunion effort from 1991 (that sounds every bit like some lost recording from 1971). 

1//88; 10/11/19 (review)

Bad Heads and Bad Cats (1975)

Bad Heads and Bad Cats is the 8th studio album from Embryo, and the second of which bandleader Christian Burchard later referred to as their "commercial years". For Embryo perhaps that is an accurate assessment, for anyone else commercial is not the first word to enter one's mind. More accessible, maybe. I would like for someone to hear 'Nina Kupenda', 'After the Rain', or 'Klondyke Netti' and claim it's somehow music for the masses.

The mid 70s saw Embryo move from being Germany's number #1 export of Krautrock mixed with jazz, to that of pioneering jazz fusion with a bit of funk - while never forgetting their Krautrock roots. As is often the case with Embryo, they were the leaders not the followers. And plenty went down this road in Germany during the next few years, but few - if any - were as accomplished as the almighty Embryo. And even on the more traditional songs, no one could pen a meaner tune than guitarist / vocalist Roman Bunka. The soulful female vocals of Ghana born Maria Archer only adds to the exotic vibe. And how about that deep bass groove on 'Klondyke Netti'? Both of the CD versions contain a 16+ minute excellent period jam called 'Human Contact' that recalls the archival 'Invisible Documents' and shows Embryo in looser form.

For my tastes, Bad Heads and Bad Cats is essential Embryo. Those calling it "ordinary" seem to lack the context from which it was delivered.

Ownership: 

1977 April (LP). Acquired in 1988.

1999 Disconforme (CD). Has an essay from the label founder along with the family tree and an extracted review from noted Embryo expert Alan Freeman. Acquired in 2006.

1//88 (acquired); 6/2/06; 9//09; 5/4/19 (review)

Turn Peace (1989)

Turn Peace is a serious world fusion work from Embryo, who by now had long shed their Krautrock past, and were completely engrossed in the hybrid of hardcore jazz and various cultures' indigenous folk tradition (mainly Middle Eastern, Indian, and African).Though there are a few clear embedded reminders here of Krautrock (A2,B2,B3).  Not an album to buy / hear if coming to it after absorbing Embryo's 1970s classics. But if looking to see the logical conclusion of Embryo's Reise - both literally and figuratively, then this album was the end of the rainbow, as it were.

The CD adds a lengthy bonus track, that is largely an atmospheric jazz piece.

Interesting to note that I bought the LP new in Munich in 1990! Dragged it all around Europe. My thinking was that I would never see it back home in the USA. Given the era, not an unreasonable thought. It actually held true for many years. In today's "global economy", with hundreds of distribution channels at the ready, that seems a silly notion. How times have changed.

Ownership: 1989 Schneeball (LP). Gatefold. Acquired in 1990.

 

5/6/90; 10/26/16 (review); 5/31/26

Live (1977)

Really fine set from Embryo, recorded in a town near Munich sometime in February, 1976. Very much a product of their jazz rock phase, Live will appeal to fans of We Keep On, Surfin', Bad Heads and Bad Cats, Apo-Calypso, and their contributions to the Umsonst and Draussen festivals. It's a bit more laid back than their intense Krautrock workouts of the early 70s, while pointing toward the earnest world fusion music that was to follow ('Bambule' in particular). Roman Bunka once again lights it up with his Eastern tinged psychedelic guitar, whereas Charlie Mariano burns on the saxophone and nagasuram, and Dieter Miekautsch gives us a splendid performance on the Fender Rhodes. Uve Mullrich and Christian Burchard lay down the energetic backbone. Maria Archer provides her usual sultry blues based female vocals on selected tracks, while Bunka brings his unique voice to the fore on occasion. Only three tracks will be recognized from their studio albums: 'Roadsong' and 'After the Rain' from Bad Heads (in truncated form), along with an extended version of 'You Can Turn Me On' from Surfin'. The CD adds the 16 minute 'Just Arrived', from a concert a few weeks later. As you might imagine, given the length, Embryo stretch out a bit more here. A fine album, that improves with age.

I think the most surprising tidbit out of these liners, for me at least, is the 1999 LP repress. Supposedly 1000 more (legit) copies spilled into the open market from a record dealer in Frankfurt. But I don't recall ever seeing Live available back then for new purchase? Must have been a Germany-only thing. Discogs corroborates this evidence.

8/14/16 update: So reader Eric had noticed on Discogs that Alan Freeman has just provided us with more data regarding this reissue, which explains the discrepancy of this title verse the others. Copying directly from the site: "The reason this LP remained un-reissued and un-issued on CD for so long is multi-fold. Firstly, the original mixed and edited tapes had been lost and/or damaged ("unusable" I was told). Also, the original LP had been mastered wrongly, with thin (narrow bandwidth) sound, which isn't what was intended. So, when it came down to Garden Of Delights doing a reissue they had to resort to transcribing from vinyl. During the course of doing that I was contacted as they were having problems with some noises in the vinyl (they were using the Nexus pressed issue from 1999). I sent them a copy of my remaster which I'd de-clicked from the original issue suggesting they re-EQ as per my clean-up due to the original vinyl mastering error. So, although the release doesn't so much as say it remastered, it is, and considerably so! How much they used of their remaster and mine it's hard to say, although it does sound rather good, with some frequency range detail added by some trickery I hadn't been able to do. The bonus is nice too, taken from the same tour of Italy as the Era Ora LP."

Ownership:

1977 April (LP). Acquired in 1988.

2015 Garden of Delights (CD). Liner notes, photos, and the one aforementioned bonus track. Acquired in 2015.

2//88 (acquired); 7/26/15 (review)

Opal (1970)

Opal is very different from the later works by this excellent long running band. Indeed it is an embryonic version of the group. It's mostly psych rock with jazz elements and is fairly straightforward and harmless overall. Two distinguishing songs take it higher: 'Revolution' is a fun instrumental and danceable jazz rock track, that you actually see more in the TV / films of the day (with "wild dancing teenagers" and hair flailing about) than what you would hear on album. 'People From Out the Space' is definitely the highlight - brilliant in fact - not only foreshadowing the sublime Embryo's Rache album, but it also fully captures the zeitgeist of the early Krautrock movement. On the other hand 'Glockenspiel' is an annoying attempt at the era's free jazz movement, and is completely at odds with the musical approach of Opal.

While I wouldn't want a reissue without the two bonus tracks, I don't personally consider them enhancements to the overall package. 'Lauft' is a loose 26 minute sax, bass, and drums jam with no peak moments. Excellent archival material that tells the whole story, but not necessarily good music. 

Ownership: 2013 Belle Antique (CD). Bonus track as noted above. Acquired in 2013.

First copy: 1990 Materiali Sonori. With bonus track. Acquired in 1990.

1990; 9/27/13 (review)

Father Son and Holy Ghosts (1972)

---1/6/10

It's a well known tale now, but Father Son and Holy Ghosts was in reality the 5th album by Embryo, and the 3rd attempt to appease United Artists as a followup to Embryo's Rache. The label wanted a more commercial release, and thus rejected both Steig Aus and Rocksession, both later purchased by Metronome and released on their Brain imprint (in 1973). Father Son and Holy Ghosts is by no means commercial, and one suspects the label gave up at this point - and released Embryo out of their contractual obligation afterwards. One of the highlights of this release, in particular, is the contribution of Sigi Schwab on guitar and other stringed instruments, including many from the far east. 'King Insano' represents the track that defines the album best. Moody and introspective with flute and Schwab's exotic electric stringed instruments (veena, tarang). Edgar Hoffman adds some amplified sax while the band grooves hard (and wonderfully phased I might add). At close to five minutes, it's Embryo concentrate - just add water. 'The Sun Song' is another wonder as it displays Embryo enjoying their early ventures towards Asian world fusion. Nine minute closer 'Forgotten Sea' is a classic laid back Krautrock jam, and reminds me why I love the genre so much. No rules or expectations. It just was.

---7/9/24

The CD adds a 20 minute live version of 'You Don't Know What's Happening' from their Opal album. This track was performed at the 3rd Essener Pop and Blues Festival in 1970. While the recording is a bit rough, the music is nothing short of phenomenal. Long jams with guitar, violin, and flute all played in that Krautrock manner, which is unorthodox and awesome. Tribal and raw.

Ownership: 

1972 United Artists (LP). Gatefold. Acquired in 1988.

2022 Garden of Delights (CD). Booklet with historical liners and photos. Acquired in 2024.

1988; 1/6/10 (review); 7/9/24 (update)

---

Other albums I own: Steig Aus; We Keep On; Surfin'; Apo-Calypso; Zack Gluck; Invisible Documents

Albums previously owned: Anthology; Yoruba Dun Dun Orchestra

1/6/10 (new entry)

Between ~ Germany

Dharana (1974)

Dharana is the 3rd album from Between, an international combo based in Munich. The music here can generally be described as World Fusion, a catch-all tag that incorporates various folk traditions, electronic, new age, and jazz. You really have to be in the mood to hear an album like this, as it's very soothing and tranquil. Put away the jam kit kids, this ain't no Krautrock! I'd say on Dharana, Between is operating in similar fashion to same era Popol Vuh and Deuter, though very different than both in aggregate. Detailed liner notes point to Greek, Buddhist, Japanese, European (in general), and Indian tradition as references. Robert Eliscu's oboe is the most prominent lead instrument, though I find Peter Michael Hamel's trance filled organ to be a highlight. Two conga players ensure this isn't a static affair.

Ownership: 1977 Wergo (LP). Acquired in 2006.

3/26/06; 5/27/25 (review)

Other albums I own: Einsteig; And The Waters Opened

5/27/25 (new entry)

Arco Iris ~ Argentina

Agitor Lucens V (1975)

---7/9/09

This is a new revelation for me, and comes as quite a surprise. I always thought of Arco Iris as a new age / Andes Mountain hybrid from the 1980s. Then I was told their 1970's albums were different, so I got ahold of Los Elementales (which is on CD), a very fine fusion album from 1977. 

Agitor Lucens V appears to be unique in their canon. This is one of the best things I've heard in the last couple of years. It's a mite inconsistent, which is part of its charm I think. In some ways, this is Argentina's version of the Lula Cortes and Ze Remalho Paeribu album. And when you find out that their spiritual guide was a gorgeous babe / former fashion model, then you know these guys were tuned into something special.

---5/15/25

Agitor Lucens V was my highest rated album that I still didn't own a physical copy of. For many years this was the case. Even though Sony reissued the album on vinyl in 2020, I held out for an original since the reissue was also very expensive considering postage. Finally the reissue made its way to these shores, and I nabbed one at a relative bargain price.

It's been 16 years since I last heard the album while doing deep research for the CDRWL. As you can tell, the album made a strong initial impact and created separation from others in the stack. So has it held its allure? Oh definitely. Even better actually. Agitor Lucens V is a special album and truly is one of a kind. The album is almost indescribable yet it's mostly familiar within the context of each song. There is little consistency, very much an exploratory 70s styled release. My earlier comparison to Paebiru is accurate on a number of fronts, other than Arco Iris are more in control and professional (well, side 4 does get really out there). In some ways, one could see this being an Italian prog album were they allowed to stretch to a double LP. I first thought of this as I heard the long bluesy guitar jam that closes side 2. It reminded me of Garybaldi. Now mix some of that with Osanna circa Palepoli and you start to paint the picture. For a double album, it's enjoyable throughout, because you're embarking on the same journey as the group. You never know what's going to happen next. These are the best type of albums to have ever been made.

Ownership: 2020 Sony Argentina (2xLP). Gatefold. Sounds like it's been taken from vinyl, so keep expectations in check. Doubt originals sound much better to be honest, though I'd still like to have one. If Sony doesn't have the masters, then hopes for a perfect CD reissue are not likely.

7/9/09 (review); 5/15/25 (acquired / update)
 

Los Elementales (1977)

Arco Iris were always an unusual lot in the 1970s. All of their albums are different from each other, and often times different within the album itself. But not in that trite Beatles way which many bands fell victim too, but rather a much more exploratory element was present. The preceding effort Agitor Lucens V is one of the greats from the South American progressive rock scene, recalling other outsider works such as Paebiru from Brazil.

So when I first heard Los Elementales, my reaction wasn't that much different than some of the reviews I've read. Because it is after all 1977, and jazz fusion was all the rage. And on a cursory listen, that's what Arco Iris are doing here. But close inspection reveals far more than swapping synth, sax, and guitar solos over a breezy selection of tropical tunes. It's much more dense, sometimes angry, often times beautiful. The melodic component is high, and the technical chops are sound. In tow, of course, is their fashion model / spiritual guru Danais (Dana) Wynnycka providing guidance - and perhaps better for the rest of us, a few soft female vocals.

Don't overlook this one if you have a taste for fusion, and looking for something more substantive.

Ownership: 2006 Leader (CD). Digipak. Includes an interview of the band (in Spanish) and a couple of relevant bonus tracks. 

6/10/07; 2/7/14; 7/15/16 (acquired / review)

1/1/17 (new entry)

Saqqara Dogs ~ USA ~ New York

Thirst (1987)

Thirst is one of those albums you would discover through Option magazine where they couldn't figure what the hell it was and they'd compare it to a band it had nothing in common with. But this listen pointed me to the possible source: David Torn. Cloud About Mercury was one of those revelations for anyone that scanned every single record in the 1980s mall record store hoping for just one new album that looked interesting. Saqqara Dogs takes Torn's loud guitar ethic and throws a little Middle Eastern mysticism into the mix. And you're not too far from Black Sun Ensemble either - another Option treasure find. In the end, Saqqara Dogs belongs to neo psych, though maybe not obvious at first. This has aged beautifully.

Ownership: 1987 Pathfinder (CD)

1988 (first acquired); 2/10/07 (review); 7/11/24 (new entry / update)

Kebnekajse ~ Sweden

Resa Mot Okänt Mål (1971)

This is an album I long struggled with, having first heard it in the late 80s. Eventually I picked up the CD in 2011, and within the last couple of weeks I squeezed a +1 out of it. I think the primary issue here is the opening side. It's unlike anything else the group released, and it mars an otherwise excellent work. The album opener has an American west coast hard rocking psych vibe to it. Though strangely modern neo psychsters Dungen can portray this sound on occasion to better results. A2 is an instrumental, not bad at all, but is a bit static overall. A3 is a silly hoedown number that leads to the title track. And it's here that Kebnekaise finds its sea legs. Though the silliness factor is still in effect with the chipmunk voices. Oddly, Mikael Ramel used the same technique on his Till Dej album only one year later. Must've been a Swedish thing (and Ramel and guitarist Kenny Hakansson played together prior). No matter, as the music behind it is splendid with superb guitar. Side 2 is all aces. Mostly a hard blues rock outing, that recall fellow countrymen November at the beginning of their career. The lengthy B1 is the highlight of the album for me. After this debut, the band would embrace more their "Swedishness". To great success I might add.

Ownership: 1971 Silence (LP)

3/27/11 (first listen); 11/18/17; 3/24/24 (review)

Elefanten (1977)

Elefanten is Kebnekajse's 5th album and represents a wonderful return to form, after the somewhat middling African/world music affair Ljus fran Afrika. Elefanten is about as close to jazz rock as Kebnekajse would ever get. It's a particularly strong outing for guitarist Kenny Håkansson, who lights it up everywhere he can. Also worth noting the strong violin play from Mats Glenngård adding the folk touch one would expect to hear on an earlier Kebnekajse album. This is a very fine work, that for whatever reason isn't as highly revered as I would expect. I think it's their best album along with their self-titled second.

Ownership: 1977 Silence (LP)

1994 (first listen); 12/4/10 (review); 9/18/18

Ljus Från Afrika (1976)

Light from Africa sees Kebnekaise moving from the comforts of home and trying their hand at a completely other style. This is a pioneering world music effort, pre-dating even Embryo's attempts. I'm not too keen on it myself, but one has to admire their spirit of exploration.

Former ownership: 1976 Silence (LP) 

12/4/10 (review)

8/13/17 (new entry)

Franco Battiato - Sulle Corde di Aries. 1973 Italy

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

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

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

1996; 12/28/23 (new entry)

Victor Brady ~ USA ~ New York City, New York

Brown Rain (1970)

---5/5/10 (edited)

While doing music research, I sure do run across some weirdo albums, and this has to rank among the top tier for that. At its core, New York City based Brady has created a seriously heavy psych album, with non stop fuzz and plenty of ranting ala Frankie Dymon or Gil Scott-Heron. Some of the material is more pop oriented, but still maintains the heavy fuzz throughout. But we haven't got to the weird part yet. The lead instrument? Caribbean steel drums! 

Unfortunately after awhile, it begins to sound more like a gimmick rather than as accompaniment. Perhaps it's the association of the instrument with island vacations, but it's disorienting when compared with the rest of the instrumentation and atmosphere. I mean, I wouldn't want to hear someone wailing on harmonica through a similar set of tunes either. One has to take on a different mindset to appreciate this album. It's quite a find and definitely recommended. Take it in small doses though. 

Victor Brady apparently was associated with the Sound of Central Park and, according to their website: "Victor Brady went on to cut a record deal with Polydor Records and released the album Brown Rain. Victor subsequently released a classical album called Classical Soul and later appeared in Las Vegas with Charo, on PBS’s Sesame Street, wrote a book about the steel drum, and performed and lectured at the Smithsonian Institute". Sounds like a true Renaissance man!

Ownership: 1970 Polydor (LP)

No legit reissues as of 3/31/25.

5/5/10 (review); 12/16/23 (update / new entry)

East of Eden ~ England

Mercator Projected (1969)

---12/31/10

Mercator Projected is one of the first, if not the first, really great world fusion - psychedelic rock albums. Most albums in this style, especially from this era, tend to be exploitation hokum. But Mercator Projected is the real deal - a true blend of heavy rock, psychedelic, and world music. And the album cover is damn near perfect. As is the music itself. One of the greats.

---11/30/23

To add to the above, for my tastes, this is the only East of Eden album I care for. I even lost interest in Snafu. A one time wonder is what it appears. The mixture of styles puts it squarely in the progressive rock zone, though this is a long way from King Crimson at this point. The album isn't perfect, but given what they're trying to accomplish, East of Eden is to be applauded for the effort. Many peak moments can be found.

Ownership: 

1969 Deram UK (LP). Single sleeve. Acquired in 2011.

2000 Deram Japan (CD). Papersleeve edition. Acquired in 2009.

First copy: 1994 Si-Wan (CD). Acquired in 1996.

1996; 2009; 12/31/10 (review); 11/29/23 (update)

Previously owned: Snafu

11/29/23 (new entry)

Toubabou ~ Canada ~ Quebec

Le Ble et Le Mil (1974) + Attente (1975)

---12/27/07

Pre-dating Embryo's world fusion focus by a few years, Toubabou were a Quebec-African-Haitian ensemble, mixing indigenous tribal rhythms and themes with Canadian French rock / folk / blues. The Quebec portion were made up of members of the Contraction / Ville Emard Blues Band clan, and some would move on from here to the more folky Harmonium. The Embryo metaphor can be taken further as guitarist Robert Stanley proves he could go toe to toe with Roman Bunka.

Lise Cousineau adds anguished wordless voice, somehow predicting the arrival of those French wackos Gutura and Noa a few years later. I suppose with all the percussion and guitar soloing, one must think of Santana, though Toubabou are not Latin in any way. This is true world fusion, played at a time when rocking your ass off was still cool.

---11/26/23

The 1974 debut is a live album and not necessarily a world class recording. But it does kind of go with the Third World ambience that the album offers. This isn't an easy work to digest, and at times it's pure African music with some annoying vocal chanting (to be honest). Listen to 'Man Yaka Ghane' if curious. All the same I found myself enjoying this more than prior and experienced a +1 listen.

Better is the studio follow up Attente, which the label decided should make up Disc 1 (though I recommend listening in chronological order). With a clearer recording and focus, Toubabou is able to achieve the goals of their premise. There's more of a rock element here, along with some strong jazz funk moves, especially the guitar work. A3 through B1 are the highlights and reach an apex that moves the album into the +1 category.

Ownership: 2004 ProgQuebec (2xCD). Loaded booklet including historical details. Includes five video clips which I've yet to see. Acquired in 2008.

12/27/07 (notes); 2008; 11/25/23 (review / new entry)

Roman Bunka - Dein Kopf ist ein Schlafendes Auto. 1980 Germany

If you've read enough of my ramblings on this blog you'll have probably noted that I'm a huge fan of guitarist Roman Bunka. He's one of those uniquely gifted artists that never disappointed, and yet is widely unknown. He recently passed away last year with barely a mention. He had found the perfect bandmate in Christian Burchard, and the two ensured Embryo would never be tempted by commercialism. Outside of Embryo he's most known in world music and film circles, as he became fascinated with, and ultimately a master of, the oud.

Dein Kopf ist ein Schlafendes Auto (Your Head is a Sleeping Car) is Bunka's only rock oriented solo album, and that's a pity as one can tell the creative juices are just beginning to flow. Bunka's background is on full display here making for a very disparate, but ultimately satisfying album. This is miles away from most progressive solo artists of the era anxious to demonstrate that they too can release pop slop like everyone else. You won't get a 'Funny Feeling' here (Steve Hackett if you must ask). I wouldn't even know how to qualify the album's opener... maybe a mutant Can updated for the 80s with a patented Embryo styled finish? This is followed by 'No More Jogging' which sounds like 'Lost Scooters' with Garden Wall's Alessandro Seravalle on vocals (deep dive reference, but if you know Garden Wall, then you know it's pretty crazy). The following two tracks demonstrate Bunka's love for Asian music and provides a nice, if somewhat jarring, contrast. This gets us to Side 2, and it's here we get the highlights of the album. Now we're in Embryo's jazzy-ethno-psych-jammy phase of the late 70s, something I'll never tire of. B1 has a killer psych sequence towards the end. Be sure to get ahold of the CD as well, as it features another great track, as Bunka covers 'On the Corner' era Miles Davis on a 10 minute excursion with his own material. Overall the album is nearly impossible to categorize. Is it world fusion, no wave, psychedelic, jazz rock? Yes. For categorization purposes, progressive rock it is. 

Ownership: CD: 1996 ATM. Jewel box release with informative liner notes and the aforementioned key bonus track. Purchased new upon release and this was my introduction to the album. I consider it the primary for the collection.

LP: 1980 private. Single sleeve. This is one of those originals I picked up "along the way" (online 2013) just because. Even today it's shockingly inexpensive and easy to get, in Europe at least. This tells us that it must have sold pretty well initially despite being a private press, demonstrating the great respect Bunka had in the music community of the era. While typically I would only keep one version of an album such as this, I feel compelled to keep both. But if push comes to shove, the LP will go.

1996; 2010; 11/29/17; 9/7/23 (new entry)

Jade Warrior. 1971 England

Debut album from arguably the first world fusion band. Jade Warrior's opening move is a complete hedge, mixing Asian soundscapes with blistering psychedelic rock. Nothing ever really develops but I find the album an easy outing and one that begs for repeated listens. An unusual trio of guitar, bass, hand percussion, and flute. As inventive as The Third Ear Band and Jan Dukes de Grey, but a completely different sound. I've owned this album in one form or another for 33 years and it remains in the excellent category.

Ownership: 1971 Vertigo UK (LP). Gatefold. Acquired in 2020.

First copy: 1971 Vertigo US (LP). Gatefold. Acquired in 1989.

1989; 11//05; 11/28/22 (review)

Los Jaivas. 1975 Chile

For many years I thought this album was all about the final track and the rest wasn't to be bothered with. Not sure how I missed all the great music here, but walked away with a +1 listen last night. Certainly Los Jaivas by this point in their career had toned down their rhetoric, and moved more towards the indigenous sounds of the region. Panpipes are definitely present and some of the music does recall walking European capitals and watching men in traditional garb looking for spare change. But it's far more than that, especially on 'Guajira Cósmica' and 'La Conquistada' which both recall Italian prog at their most pastoral. Similar to fellow countrymen Los Blops perhaps. And yes, that does get us to the finale 'Tarka y Ocarina' which is indeed a whopper - a track for the ages. The opening third recalls Ash Ra Tempel's debut with its thunderous drumming and ripping heavy psychedelic guitar - quite a jarring sound in this setting. The remainder is like a piano concerto gone mad, and certainly ELP or any number of their Italian equivalents like Metamorfosi or Triade come to mind. Overall a fantastic work, one of Chile's best from this era. And it should be noted they were in exile in Argentina during this period, escaping the recent Pinochet dictatorship.

Ownership: LP: 1975 EMI (Argentina). Beautiful gatefold. Acquired this from a reliable Argentina based mail order dealer (1996). It's been a long time since I looked at the value of this record, but it's skyrocketed, worth 7 times what I had it noted for (even though there are many original pressings from different countries). Good to know, though I'm not selling it.

1996 (first listen); 9/15/22 (review/new entry)

Pepe Maina ~ Italy

Il Canto Dell'Arpa E Del Flauto (1977)

Another one of those albums sitting in my collection that I had no memory of. I also had Pepe Maina miscategorized as progressive rock, as does the Japanese reissue label. Maina plays a type of instrumental World Fusion with electronic elements. I would submit his debut is a combination of Jade Warrior, Mike Oldfield, and the instrumental parts of Harmonium. A very fine work that can pass you by if not paying close attention, which is apparently exactly what has happened to me these past years.

Ownership: 1993 MMG (CD). Acquired in 1996.

1996; 7/10/22 (review / new entry)