The Morrigan - Masque. 1998 England

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

Ownership: CD: 1998 English Garden

8/26/14 (new entry)

The Morrigan - Wreckers. 1996 England

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

Former ownership: CD: 1996 English Garden. Jewel case

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

The Morrigan - Rides Out. 1990 England

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

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

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

Steve Maxwell von Braund - Monster Planet. 1975 Australia

Monster Planet is arguably Australia's first electronic album. Influenced by the German Cosmic Courier LPs (all of which were imported to Australia), and Braund's own time spent in the English and German underground, Monster Planet mixes both rock (including vocals, sax, bass, and drums) and electronik elements. The latter proving to be the main characteristic of the album. The synthesizer was limited to strictly a Korg-700, so the possibilities were quite limited - and the album is a bit monotonous in places because of it. There are no sequencers, organ, or mellotron - just static and spacey electronics. Shortly thereafter Braund began to assemble a full arsenal of synthesizers, and thus the Cybotron legacy was born. All the same, the album has its charms, and is a good example of the pioneering 70s electronic music movement.

Ownership: LP: 1975 Clear Light of Jupiter. Single sleeve. Online acquisition (1999). The album was pressed in a quantity of about 2000. Braund wasn't too keen on the cover design (nor the Von designation), and so he had approximately 500 of the albums reprinted with a more favorable cover (black and white with him on the front). So convincing was the German styled cover design, that when I first read about the album from a catalog in the mid 1980s, it was simply listed as Monster Planet on the Cosmic Couriers label. For many years, dealers told me such an album didn't exist. And finally the puzzle was resolved for me, and eventually I bought the original LP. At one point I also owned both the Aztec and Dual Planet reissues, but moved them out since they were superfluous. The CD does however feature a very telling 14 minute radio interview from back then. I have to admit to wondering why Aztec would reissue such an obscure album, especially after falling into financial trouble. And the answer is provided in the extremely informative liner notes: Label head Gil Matthews plays bass and drums on the album!

1999; 8/23/14 (new entry); 7/8/23

Irish Coffee. 1971 Belgium

Irish Coffee's debut is practically the definition of the Continental European rock sound of the era. Heavy guitar and Hammond organ are the main instruments, while the English vocals are delivered in a forceful gruff style. The music is deceptively complex, and a casual listen will likely result in labeling the album as "hard rock" and it definitely rides that fence. Tracks like 'Can't Take It', 'When Winter Comes', and 'Hear Me' pack a lot of ideas and meter shifts into their sub 5 minute time frames. The single tracks are indeed more straightforward, and the last recordings come from 1974 where it appears the band hadn't progressed at all.

Ownership: CD: 2007 Thors Hammer / Garden of Delights. Full historical liner notes, new photos, scans of all their singles (and all 7 extra singles are here as bonus tracks), and great sound. 

My first taste of the album, along with dozens of other people I'm sure, came via the Voodoo CD reissue (1992) which I picked up sometime in the 90s. Over the years, this reissue had been tagged a pirate edition, but I was pretty certain it was legit. And sure enough, the band themselves reissued it in a limited edition (Voodoo was an early name for the band). It featured 7 bonus tracks and a small history. Naturally it vanished into various collections over the years, and the bootleggers hit the market hard. 

Fortunately Garden of Delights came to the rescue (under their non-German Thors Hammer moniker), and this is the de facto reissue. Here we learn of the authenticity of the original CD (but points out one glaring recording error), as well as confirming the original LP release date as July 1971 (I still see 1972 appended on some discographies). It would be great to get an original, but that's not likely to ever happen. While I think it's a great album, I don't think it's worth four figures honestly (and yea, I do think some albums are worth that - personally speaking of course).

8/20/14 (review / new entry) 

Light Year - Reveal the Fantastic. 1974 USA (archival)

Today we have a real gem. And it's been out there for 4 years now, and I'm just hearing it for the first time!(?) I discovered it the old fashioned way: Research. This is the type of album I'm usually tipped to ahead of time by my loyal friends and researchers. So perhaps today I can return the favor? I hope so. I think all of my readers will adore this one.

An extraordinary find, Light Year were a band from San Francisco circa 1974 that played a cross between heavy fusion and progressive rock, with dominant female vocals. To me it sounds like the Belgian band Cos playing the music of Mahavishnu Orchestra! Yes... I'm serious - Pascale Son fronting John McLaughlin and crew. A 6 piece of guitar, keyboards, bass, drums, vocals, and percussion (much of it tuned). Mixing a Bay Area band with an additional percussionist will call to mind who? Yes, that's right, Santana. And guitarist Randy Sellgren certainly possesses that hyper kinetic electric technique of Mahavishnu John meets Carlos type sound. The music is jazz oriented, but with ferocious rock segments, in the same manner as Santana's "Lotus". And the final track, clocking in at a whopping 20:20, has a distinct space rock element - propelling the album to its greatest height.

And the story doesn't end there. And this is perhaps the most fascinating aspect for me; the liner notes don't mention it. And there's only one reference to it on the label's home page. And (lots of ands on this one...) this is how I discovered it in the first place: I recently bought a second LP copy of Mingo Lewis' "Flight Never Ending" which I have listed in the CDRWL. This copy, however, included a promotional insert, where it says (typing it out literally): "Mingo's band lingo (sic) is a tight, young outfit: Drummer Dave Logemen (22), bassist Eric McCann (17), plus the remains of another San Francisco band called Light Year which includes guitarist Randy Sellgren, synthesizer specialist Michael Kapitan, and keyboardist Kincaid Miller." The latter two are not mentioned in the CD liner notes (Mingo's album came out two years later) - but then again, neither is Mingo Lewis. Holy smokes - who knew??

This album is absolutely essential.

Personal collection
CD: 2010 Green Tree (Germany)

The CD comes in a nice digipak and features newly written liner notes (from 3 of the members), lyrics, and photos. The sound is excellent. The LP is a gatefold, though I haven't possessed one myself. I know that Green Tree has a somewhat checkered past, but this one is clearly legit, and a superb archival album. Buy this one before it gets away. Special thanks is given to Doug Larson, who I presume had something to do with this release.

L'Orchestre Sympathique - En Concert a la Grande Passe. 1979 Canada-Quebec

L'Orchestre Sympathique's jazz rock sound (recorded live, but perfect sound) is defined by flute and tuned percussion, and thus draws comparisons to Pierre Moerlen's Gong and fellow Quebecois legends Maneige very easily. And those references are certainly on the mark. One band that isn't mentioned often, but I pick up in the more intense spots, is that of Dun's Eros. There's no hints of Zeuhl here, and it certainly isn't a dead-on reference, but there are a few similarities especially on 'Houmalaya'. As with any live jazz oriented album, there are a couple of loose improvisation spots that get stuck in the mud, but in general those moments are fortunately held at bay. About 15 years after this album, the Argentine band Las Orejas y La Lengua would release a similar type effort. Highly recommended.

Personal collection
CD: 2005 ProgQuebec

Original LP is a single sleeve cover. The album was included in their concert pricing  - a novel idea that helped fund the project. It's only been in the last couple of years that I was first introduced to the album. The CD features liner notes and wonderful sound like all of ProgQuebec's product.

Madder Lake ~ Australia

Stillpoint (1973)

Madder Lake's debut is a varied work, that references many of the influences of its day. Anything from the Oz standard of boogie / shuffle ('On My Way to Heaven') to catchy folk rock pop ('Goodbye Lollipop') onto Santana influenced jazz rock - it all can heard on Stillpoint. Perhaps the best track is the opening 8 1/2  minute 'Salmon Song' (wait a minute, was Steve Hillage...? Naw...), a primarily instrumental jazz rock piece that features some fantastic guitar and organ leads. Other highlights include 'Helper', which sounds like it could have fit in the middle of Blue Oyster Cult's Tyranny and Mutation album; the first half of 'Listen to the Morning Sunshine' is typical boogie, but the second half is all psychedelic goodness; and the two progressive oriented closers 'Song for Little Ernest' and '12-lb Toothbrush'. Ironically the latter track had a pop vocal motif that they filtered out for a hit single (as presented on the Aztec CD as a bonus track) - and became somewhat of a caricature sound for the band. They apparently never recovered their reputation locally because of it ("a millstone around their neck" as the liner notes put it). From my perspective, this is by far their better of two albums, and I could never reconcile with their sophomore effort Butterfly Farm despite an equally splendid cover.

Of historical interest, this was the first album on the Mushroom label, and was more or less created by the manager of Madder Lake. And of personal historical interest, this was the first LP I ever bought on ebay. Such an odd choice, but it remains the fact. 

---9/10/26

I didn't cover the bonus tracks, but there are three singles (one side of a 45 came from the LP) and four live cuts. These are similar in construct to the album proper. 'Bumper Bar', 'Down The River', 'When is a Mouse', and 'Country Blues' are all not on Stillpoint. Perhaps only the latter a disappointment.

Ownership: 

1973 Mushroom (LP). Rough paper gatefold. Acquired in 1999.

2008 Aztec (CD). Tri-fold digipak. Eight bonus tracks and a full history. Acquired in 2012.

4/9/99; 6/5/12; 8/6/14 (review); 9/10/26

Previously owned: Butterfly Farm

8/6/14 (new entry)

The Plastic Cloud - s/t. 1968 Canada

Kingston's The Plastic Cloud - to my ears anyway - practically define what late 1960s underground psychedelic music sounds like. Look at the cover - fast forward 45+ years - and tell me they wouldn't fit perfectly into today's hipster culture. They have a strong sense of that era's light ethereal melodies coupled with credible vocal harmonies, and yet they also possess this subversive streak that shows up primarily in their heavy use of a biting "bumblebee" sounding fuzz guitar. Tracks like 'Shadows of Your Mind', 'You Don't Care', 'Face Behind The Sun', and 'Civilization Machine' are massive in their execution, and the jams can get super intense  - especially on the longer tracks (two of which go into the 9 to 10 minute mark). Imagine The Doors going "all in", as they would in their early days, but utilizing fuzz guitar instead of electric organ. And even the "straight" psychedelic tracks are memorable such as 'Art's a Happy Man' and 'Bridge Under the Sky'. If you're a fan of the underground 60s psych movement, it's pretty hard to imagine not freaking over this masterpiece. A genre defining album if there ever was one.

Personal collection
CD: 1990 Laser's Edge (USA)
LP: 1999 Void (USA)

The original is a single sleeve cover with insert. Original copies can get way up there, and frequently sell for well over $1K. My original discovery came via a new upstart label called The Laser's Edge way back in 1990. I'd never heard of the group, and I was myself only in about Year 3 of having disposable income for buying albums when I felt like it. So I took a chance, and was rewarded in a big way from a music perspective. The CD comes with a fold out insert and replicates the original liner notes. Many years later I picked up the Void LP reissue - and it's probably superfluous to own this version given it's a straight reissue with the same original insert. But since it's such a favorite album of mine, it's nice to have a vinyl copy - especially since originals are pretty much out of reach. The Lion reissues include - according to their website - "The accompanying twenty-page booklet has all the lyrics, thanks to Don Brewer, the man who wrote them, as well as rare photos and a replica of an original press release that must be seen to be believed". And their edition of the LP is a gatefold.

Proud Peasant - Flight. 2014 USA-Texas

Proud Peasant are a symphonic progressive band from Austin, Texas, an area more known for country blues or cutting edge indie rock (it's for certain the hipster capital of Texas) - and as such the band find themselves at complete odds with their hometown brethren.  There are 3 lengthy instrumental tracks (12:28, 19:34, 13:20) on Flight, and what sounds to be mostly charted music and well rehearsed. There's a large palette of instruments on display, beyond the usual rock quartet with 70s analog keyboards. Proud Peasant's trademark sound would have to be simply described as BIG. Not in the Godspeed You Black Emperor post rock manner, as this is music that is definitely rooted in the 70s. With that era's analog instrumentation though perhaps as played and produced in the 1990s. Comparisons do not come easily, but Rainbow Theatre at the time of Fantasy of Horses is one such album. Like that album, there is a classical bent to the compositions - but wholly their own and nowhere near a cheesy "rock the classics" kind of endeavor. Given that Proud Peasant are instrumental, you also won't have to battle the pseudo operatic vocals either (though there is some acapella actually (a bit like Pulsar's Halloween), which is mixed creatively with fuzz bass and Moog synthesizer). It's hard to imagine the band being influenced by such an obscure album from Australia, as I would suspect they would react with a collective "who?" - but it's always interesting to see how disparate bands from different eras can come up with similar music conclusions (though I should reiterate the obvious - they are still very different). Perhaps another comparison, though far more superficial, would be Camel's The Snow Goose, another classical styled work with beautiful flute. They saved the best track for last, 'The Precipice', which combines the sounds above with the Scandinavian School of retro prog, especially that of early Wobbler.

Ownership: CD: 2014 Basement Avatar. Purchased new upon release. Comes in a digipak with recording details.

7/23/14 (new entry)

Node - Node 2. 2014 England

The Node quartet are back after nearly 20 years (with a slight adjustment of personnel replacing Gary Stout with Hollywood composer Mel Wesson), easily at home on Ian Boddy's DiN label. The band's core premise is intact and they're still with all analog gear in tow, including a full array of fun toys like the ARP 2600, SynthiA, modified Mini-Moogs, PPG Modular, custom built synthesizers, along with well placed guitar (including some wonderful phased electric soaring over the full blast sequencers in the best Edgar Froese tradition) and other keyboards like Fender Rhodes, piano, organ, and Mellotron. The very detailed chronological Ultra-Technical Music Geek Notes (AC's trademark pending) gives us a glimpse into the world of Node. Each track has a melodic, tempo, and chord base from which to base their programming on. From there it's pure improvisation. If it works on try #1, it stays in. Otherwise they adjust a few things, and give it another whirl. It's 100% democratic and independent - 4 seasoned musicians each adding their own personality to the composition. When all is recorded, it's edited (filtered) down for the best possible listening experience.

For me, this is the most exciting Berlin School album since the heady late 90s days of Redshift. The sheer amount and variety of analog synthesizers, combined with a fully participating quartet, allows for unlimited possibilities in a genre that can easily grow stale (i.e . turn on the sequencers and beats, get a cup of coffee, then noodle for a bit). It's nigh impossible to even pick one track, as each one is brilliant, and yet very different. If you're a fan of the style, it's almost impossible to fathom not absolutely freaking over this album. It not only lives up to the promise of the debut, but exceeds it. Pure genius - a definitive statement. The bar has been reset.

Ownership: CD: 2014 DiN

7/23/14 (new entry)

Poliphony ~ England

Poliphony (1973)

Poliphony is a very nice instrumental jazz psych record. Not too far from some of the Italian film library bands like Fourth Sensation or Psycheground - or even the UK group Hungry Wolf. Some pointed fuzz guitar leads (such as the opener 'Underdog') and flute forays add gravitas. Elsewhere, there's some jazz-tone guitar and plenty of Rhodes, typical of the genre. From a psychedelic perspective, a little more fire in the belly would have lead to a better experience. On the other hand, though low-key in nature, the album progresses nicely, providing a nice soundtrack to a midday walk in the park. 

Former ownership: 2012 Audio Archives (CD). Historical liner notes. Likely a vinyl transcription, but it's well done. Audio Archives decided to change the color from the original beige to a pinkish hue - perhaps to its advantage. Acquired in 2014. Downsized in 2026.

2008; 2/4/10 (review); 7/19/14 (update / new entry); 12/16/24

Robert Connolly ~ Canada ~ Ontario

Plateau (1978)

I've said it before, but it's worth repeating: Ontario in the 1970's was an extension of the US Midwest - at least from an economic perspective. And so it comes as no surprise that the music shares similarities. We've waxed on a number of times about this most unique of American made rock music. And I'll be honest, I never viewed Connolly with this lens, until a revisit of the LP a couple of years back. Wham-bam, bullseye! Get your Ethos, Dillinger, Starcastle, and October albums out and compare.

Even though Connolly is standing next to a double neck guitar on the back cover, I believe his true passion is keyboards (and he's loaded with all the fun analog stuff like Mellotron, Mini Moog, and Hammond). The concept is pure 1970's space alien fantasy and comes complete with a goofy comic book (and any righteous CD label MUST reproduce this bad boy). For the album, Connolly put together two entirely different groups, each side represented. Side 1 mixes narration, female vocals, acoustic balladry and all out progressive rock that recalls Eloy's Power and the Passion, but truthfully better. Side 2 is where Connolly hands over the guitar duties as well as brings on a male lead singer - while he focuses entirely on the keys. No question this side is the more traditional progressive rock, though the vocals tend towards the AOR side, typical of the region. Given this new outlook, I'm appreciating Robert Connolly's album more now than ever. It's the time and place.

Ownership: 1978 Tube (LP). With comic book. Acquired in 1992.

No reissues as of 10/15/26, and I've had it in the CDRWL since day 1 of the list. 

1//92; 1995; 2000; 12/26/10; 7/12/14 (new entry)

Cuprum - Brahma Višnu Šiva. 2014 Czech Republic

The sophomore effort Brahma Višnu Šiva shows Cuprum upping their game a bit. The flute is more present, the guitars have a louder psychedelic tone, the 70s keyboard set is full blare (Hammond, Rhodes, Moog, Mellotron). All still sung in their native, and wonderful, Czech language (can I please ask for those wishing for English to stop? My goodness, is there really no one else singing in English now?). The songwriting has seen a bump up as well, and the album engages the listener that much more. It's telling that I've seen videos of Cuprum covering Flamengo. There cannot be a better band from the old Czechoslovakia to emulate. And there's still room for improvement, as they have yet to explore the more kinetic aspects of progressive rock. For those who can't seem to get out of the 8th decade of the 20th Century (like me par example), then Cuprum is your dream band. Ground zero of the Retro Prog movement is right here. Wonderful stuff. Keep it going my friends from the East!

Ownership: CD: 2014 private

7/11/14 (new entry)

Deja-Vu - Between the Leaves. 1976 Norway (archival)

Deja-Vu features two members from the Norwegian hard progressive band Høst, and the music is very similar actually, especially at the time of Hardt mot Hardt. Perhaps more symphonic given the heavy keyboard presence (Fender Rhodes, Mini-Moog, String Ensemble, Clavinet, Mellotron), but the compositions have that relentless bass guitar induced driving flair - also recalling Trettioariga Kriget or Ruphus' works a couple of years prior to this. Hard to imagine anyone into the symphonic progressive rock sound not appreciating this album at a high level. As you listen to Deja-Vu, it becomes apparent that a modern band like Wobbler has no doubt digested this album as a matter of national pride. And it shows in their own recordings, especially their latest Yes-like offering Rites at Dawn.

Personal collection
CD: 1995 Research Records / Record Heaven (Sweden)

Supposedly a test pressing from 1976, I don't think one has ever been for sale. So a classic case of an archival tape, and my first exposure - along with just about everyone else I presume - was the Research Records CD, which I bought immediately upon release in the mid 90s. Today that CD is pretty much extinct and will probably remain a collectible unless it gets reissued again. The CD is an excellent release with liner notes, photos, and great sound.

Fire Merchants. 1989 USA

Now this is the kind of album that had quite a bit of buzz back in the day, and yet when I did research for the album, it seems to be almost an unknown. Heck, we used to play it on our radio show in the early 90s! I'm sure one day, the late 1980s and early 90s instrumental heavy fusion fad will regain its audience, but as of 2014 it's nothing but crickets out there. Since there are so few reviews, I thought I'd get something about it for potential fans.

Fire Merchants were all the rage in 1989, when long time Brand X guitarist John Goodsall teamed up with legendary drummer Chester Thompson and bassist Doug Lunn (Lunn is one of those guys who may not ring a bell, but he's on a ton of marquee name albums). The music is hard hitting guitar fronted instrumental fusion, sure to please subscribers to Guitar Player magazine, and other fans of technical 6 string playing. Brand X hadn't sounded this heavy and kinetic since the late 70s! (this was before their 90s reformation)  As was typical of the late 80s era, the compositions were short on high quality melodic composition and thematic development. Whatever was lacking in those areas were made up with technical prowess, high energy, and copious experience in the studio. After many years of mindless and slick gloss within the jazz fusion field, the return of the rough-hewn sound as provided by the likes of the Fire Merchants were much welcome back then. I predict an audience will reemerge for the style, but as of this writing, that has yet to happen.

Ownership: CD: 1989 Medusa. Jewel case.

1993 (first listen); 7/8/14 (review / new entry)

Lost Nation ~ USA ~ Detroit, Michigan

Paradise Lost (1970)

Detroit's Lost Nation recalls another band from nearby Ann Arbor: SRC. Especially at the time of Traveler's Tale. There's a distinct late psych vibe here (the dreamy vocals and harmonies are a pure giveaway). The driving guitars and Hammond Organ call out Deep Purple from their late 60s era, and the music definitely carries over into progressive rock territory with their sophisticated development of composition - especially over the longer tracks of which there are a few. It's a pity Lost Nation didn't catch on, as they certainly were one of the stronger groups to emerge from the American confused year of 1970. For my tastes, the best album on the Rare Earth label.

Ownership: 1970 Rare Earth (LP).

No reissues exist as I update this post (7/7/25)

1996 (acquired); 7/8/14 (review / new entry); 7/6/25

Brainchild ~ England

Healing of the Lunatic Owl (1970)

Brainchild's Healing of the Lunatic Owl is perhaps the single best album to have emerged from the late 1960s brass rock movement that had gained immense popularity due to Blood, Sweat & Tears, and Chicago Transit Authority's chart topping hits. Brainchild definitely falls on the Chicago side of this equation from a musical perspective. I've long felt that Chicago is somewhat under-appreciated in today's world for how groundbreaking they truly were - mixing carefully crafted pop songs, with complex horn charts, and insane unhinged psychedelia. The latter two elements eventually fell off the train (so to speak), and all that most anyone remembers today is an old boring pop band for middle aged housewives - who spend all day on Facebook. The English septet Brainchild is the embodiment of everything that was good about Chicago - without any of the excess or trivial moments. Brainchild's ability to pen a beautiful pop song is jaw dropping in its execution. The horn charts are complicated, perfectly played, and yet still tuneful. There's an element of psychedelic rock, but it's not the main focus - but rather a powerful ingredient to the overall stew. There's also one other aspect to Brainchild, that most horn rock bands did not pursue back then, and that's an absolute appreciation of progressive rock. The latter element shows up repeatedly in how each composition develops - the constant changing of moods, dynamics, and meters. The title track perhaps is the best example of everything mentioned above: A stunning pop melody, great vocals, psychedelic interludes, and a progressive rock structure. Other superior tracks include 'She's Learning' which features a grungy organ, gravelly vocals, psych guitar, and an ominous brass section; 'A Time and Place', a progressive oriented track clocking in at 9 minutes, which starts with melancholy flute, before launching the Latin percussion, organ, jazz rhythm guitar, and hard hitting trumpet/trombone charts; 'Sadness of a Moment' is the kind of song that Greg Lake could have penned for King Crimson in his prime - complete with soft echoed vocals, acoustic guitar, and flute. Goosebump inducing music right here!; 'To "B"' closes the album, after a brief but beautiful flute opening, as it started with 'Autobiography' - a powerful horn rock song in the Chicago Transit Authority tradition. For me, the best horn rock album ever. Unless the style reemerges in our lifetime, it's hard to imagine anything ever besting it.

Ownership: 

1970 A&M UK (LP). Acquired in 2012.

1991 Pony Canyon / A&M (CD). Acquired in 1995.

1995; 9/9/09 (review); 7/7/14 (new entry); 4/23/20

Maxophone - s/t. 1975 Italy

Late to the game, Maxophone's album missed the heyday of the Italian progressive rock movement by about two years. To add more doubt, Produttori Associati was a pop label that hadn't shown much interest in progressive rock, having only released the very obscure jazz rock Duello Madre album prior. Despite these setbacks, Maxophone's sole album is a fastball-down-the-middle for the style. Everything is here: Complex compositions, memorable melodies, dizzying meters, large symphonic sound, a myriad of analog keyboards (incl. Hammond organ, piano), biting electric guitar leads, soft acoustic guitar soundscapes, flute, clarinet, saxophone, trumpet, trombone, French Horn, tuned percussion, and fantastic vocals in Italian. If you're a fan of the style, then it's hard to imagine Maxophone not satisfying on many levels. As is usually the case, be careful not to judge based on the English language version. Hear it in Italian, as it was originally intended, and then draw your conclusion. The 1977 45 single (added as a bonus to later reissues) is geared more towards orchestrated pop, and it clearly shows Maxophone had walked away from progressive rock by then, as just about everyone else in Italy had during those days.

Personal collection
CD: 2005 Arcangelo (Japan)

The original album is housed in a splendid gatefold cover. True Italian originals are scarce and in demand, like all original progressive rock albums from there. Watch out for German originals on the same label. Some dealers like to sneak those in as originals - which they are - but still not quite the same (though I might add - would still make a great addition to the collection - and costs about 33% of the real thing). You can distinguish by the catalog number, and that the label is orange instead of the original black (the original is the first photo). The English version was released in America on the California based PAUSA (Produttori Associati USA) label (second scan). Like most folks here in the States, this was my introduction to the album. Like most Italian albums, hearing the English language version is going to be an inferior experience. And as such, I wasn't overly impressed, but kept it around long enough to replace it with the first CD to hit the market which was the Japanese Crime version. Now I could hear the album as it was originally intended in glorious Italian, and the album jumped a couple of points as a result. I eventually replaced that version with the first Japanese mini-LP that replicates the original down to the last detail (including a rare sticker). Maybe one day I'll get the Italian original, but it's not of the highest priority right now.

Mar-Vista - Visions of Sodal Ye. 1976 France

Mar-Vista are the duo of Jean Skowron and Claude Cuvelier. According to the liner notes their influences were a bit more esoteric than the usual suspects and include Terry Riley, Balinese music, Klaus Schulze, Neu!, Tangerine Dream, Ash Ra Tempel, "and the glorious Popol Vuh" as they state. Each side of the album is composed by one of the gentlemen. Side 2's 'Sodal Ye' is Cuvelier's contribution. It's a long electronic piece, in the German spatial tradition. It's well done, and fans of the style (including me) will enjoy it. The real revelation here, though, is Skowron's 5 part 'Vision'. He plays a myriad of instruments including electric and acoustic guitar, synthesizers, electric piano, percussion, organ in addition to taking on the vocal duties. Cuvelier I presume adds in his bank of analog keys as well. The music reminds me of other murky progressive folk albums coming from France, with lots of wild fuzz guitar, haunting acoustic passages, bizarre electronics, mournful vocals, and a wealth of other ideas. This side is a real revelation, and I think fans of the progressive, yet very psychedelic, folk rock underground will eat this up! The two bonus tracks are also excellent. 'Synthetik Way' is another lengthy electronic piece recalling Frenchman Claude Perraudin or the Italian Eletriktus. And 'Crash '73' is a full-on progressive jazz rock number that conjures up bands such as 1970 era Soft Machine (this may have come from an earlier incarnation of the group when they were a larger ensemble - though it's unclear).

Sadly we learn from the liner notes that Skowron is no longer with us. However to finish on a positive note, Cuvelier is back and recording a new album.

Personal collection
CD: 2014 Strawberry Rain (as Visions...)

The one and only species captured in the wilds, at least with visual evidence, is the first photograph. Le Kiosque d'Orphee is not a label so much as it is a custom record pressing plant. So it's like the American labels such as RPC or Rite Records, and everything on the label is likely to be obscure, and in some cases, extinct. The CD comes in a fine digi-pak (second scan), with liner notes that fill in the story of how the album came about. The CD also features two excellent and relevant bonus tracks. Though the CD is entitled Visions..., and the LP cover above says nothing more than Visions, the liner notes clearly attribute the title to Visions of Sodal Ye.