Walrus. 1970 England

Yet another UK horn rock band from 1970. I always expect Walrus (the album) to be a bit better each listen, especially after taking in the barnburner opener, and yet it falls a bit short of heightened expectation.  Mostly it's the straightforward songwriting, and the band at times comes across as a bunch of rock-n-rollers with a horn section in tow. Still, there's plenty of good progressions, and 'Coloured Rain' demonstrated that Walrus could have gone the jazz rock route as well, to much success. Though they blew it here too with a late drum solo, demonstrating their lack of awareness. Not in the same league as Brainchild, Heaven, or Greatest Show on Earth, but certainly passable and conditionally recommended, especially to die-hard genre fans (of which I'm one).

Personal collection
CD: 2008 Esoteric

Single sleeve cover, and one of the more obscure Deram albums, though not one of the most expensive or sought after. The first CD to market was from Si-Wan. Unusual in that Si-Wan generally licensed their product from the parent companies in Japan, and yet I could find no evidence of a Japanese LP. It's possible one was released, and it's just not been captured, or it's also possible they licensed it but never actually released it (would likely have come out in the mid 1970s). The Japanese mini-LP comes from Deram, and that indicates the same license we're talking about here. I believe it's a separate mastering from the Esoteric copy that came out the same year. In any case, the Esoteric version is great, with excellent liner notes, great sound, and one non-album bonus track taken from a single in the same era. Some of the online discographies append a 1971 date to the album, but it's clearly copyrighted as 1970, and according to Esoteric, it was released in December of that year.

Wapassou ~ France

Ludwig (1979)

In many ways, this is Wapassou's most artistically accomplished work. The classically influenced 34 minute title track is dense and complex, with Wapassou demonstrating their musical maturity over the course of both sides of the LP. And yet, I found myself missing the haunting atmospheres, and mysterious sounds of the previous three albums. Perhaps had they broken this composition into smaller tracks, where they could be dissected individually, it may have worked more smoothly as a whole. As it stands though, the sprawling piece can be impenetrable at times. For fans of the classic Wapassou sound, there is no doubt it is an essential purchase, but it does seem to be a bit too formal I'm afraid.

The CD features a six minute bonus track, which is a separate sound from the album proper. It uses real drums but sounds like a later effort. 

Ownership: 1979 Crypto (LP). Acquired in 2015

First copy: 198? Omega Studio (LP). Acquired in 1990

1990; 1995; 9/22/15 (review)

Messe en re Mineur (1976)

My notes on the debut state: "Wapassou are certainly one of France's most innovative bands of the 1970s. And that's saying something given the competition. Basically Wapassou are a drummer less trio, with Crumar organ, piano, synthesizers, violin, guitar, bass and female vocals. Haunting, atmospheric music."

Welp - that's about it! They've just stretched the concept to one 40 minute composition. The female wordless vocals are an acquired taste, but they are memorable nonetheless. And very melodic. There's really no other group like Wapassou during their prime. The fact they managed a three album run (and maintaining distribution from RCA) while playing music such as this - is rather remarkable. Even for France, a country known for avant-garde artistry, that's not typical. 

Ownership: 1976 Crypto (LP). Acquired in 2014

First copy: 198? Omega Studio (LP). Acquired in 1990.

1990; 10/10/11 (review); 2/8/23

Wapassou (1973)

Wapassou was certainly one of France's most innovative bands of the 1970s. And that's saying something given the competition. Basically Wapassou were a drummer less trio, with Crumar organ, piano, synthesizers, violin, guitar, bass, and female vocals. Haunting, atmospheric music. 'Rien' is chilling with Karen Nickerl's disturbed child-like vocals sung over a pervasive and doomy climate, and is arguably the album's highlight. 'Musillusion' is essentially Wapassou's anthem, and contrary to the prior song, is uplifting yet still manages to be melancholic. Side 2 of the album has more of a traditional rock band aesthetic with the inclusion of drums, something they were to eschew after this. For a band such as Wapassou, the additional rhythm and percussion is unnecessary for what the band is attempting to convey. Over the years, Wapassou's debut has entered into the absolute top tier of my album collection. A hidden treasure as it were. It sneaks up on you. One I think will get its ultimate recognition long after we're all dead.

The cover is a personal favorite and is a centerpiece of my "wall of albums". One of the last LPs I would ever sell. A true original LP is very rare. Omega Studio is a re-branding of Prodisc, so it's in effect a second pressing. 

All the CD reissues feature two bonus tracks which is a 45 from 1974 that is similar to side 2 of the album proper, with a more obvious rock context.

Ownership:

1987 Omega Studio (LP). Acquired in 1990.

2015 Lion Productions (CD). Digipak with complete liner notes in English, which I believe is the only release that isn't in French. This is the 3rd CD reissue for me to obtain (the others were the Si-Wan jewel box release and the Belle Antique Japanese papersleeve). This appears to be the definitive reissue. Acquired in 2023.

1990; 1997; 1/27/10 (review); 8/12/12; 8/23/23

Also own: Salammbo; Genuine

1/27/10 (new entry)

WLUD ~ France

Second (1979)

Wad / Thud continue on with their second album, very creatively titled. And we pretty much hear the same style as the debut - six creative instrumental melodic progressive tracks that are pleasant, though not earthshaking. This is Instrumental Prog Rock 101, and you get an easy "A" just for showing up to class. Not everything has to be Master's class hard to be good. Sit back, enjoy your favorite beverage, and immerse yourself into the music of WLUD.

Bonus tracks on the Musea CD add French vocals and demonstrate the band was up to no good at the end of their career, desperately trying to find a larger audience. And it didn't work obviously. Besides who wants to hear a band called Thud?

Ownership: CD: 1997 Musea. With history and five bonus tracks. I originally owned the LP but swapped it out when the CD arrived.

1992 (first acquired); 1997; 9/20/15 (review)

Carrycroch' (1978)

Apparently the band's moniker of WLUD was inspired by the French jazz rock ensemble CCPP (which to American eyes looks similar to the USSR), and thus they too went forward with their last names. A classic lost in translation scenario, as it comes across as either Thud, Wad, or WTFuh. Had they been christened with a name like Église Fou Avec Perles, perhaps the band would be more highly sought after today. Who knows, but the music here more than makes up for the shortsighted naming convention. Instrumental progressive rock with an emphasis on melody is the name of the game here. Those looking for conservatory styled compositions will need to look elsewhere, but if enjoyable put-a-smile-on-your-face instrumentals are your bag, then welcome Carrycroch' to your home (oh my, yet another problematic title - one pictures Roseanne Barr at a San Diego Padres game). No matter, because once the platter (silver or black - choose your weapon) hits the turntable / laser all will be forgotten. If only such music was the norm in 1978. Obvious candidates of Camel and Yes get thrown around, but one could just as easily toss out Carpe Diem, Neo, and Terpendre just to show off to the only person who might know what you're talking about.

The CD adds one similar bonus track that is excellent, perhaps even a bit more melodic. Incidentally I don't think the guy on the bottom left got the desired result for his photo effect.

Ownership: CD: 1996 Musea. With history and one bonus track. I originally owned the LP and switched to the CD a couple of years after its release.

1992 (first acquired); 1998; 9/19/15 (review); 6/25/25 (update)

9/19/15 (new entry)

Spickle. 2000 USA-Louisiana

Spickle were a quartet from New Orleans, who play a type of instrumental metal, as performed by a late 1960's era garage psych band. Sure, one would call this math rock as well, I suppose. Whatever the genre warriors want to label it, this is one entertaining progressively slanted instrumental (heavy) rock album. It appears this is a band that fell entirely through the cracks. That's too bad. 

Sold the CD (2021)

2004; 9/6/15 (new entry); 10/12/21

Jade Warrior - Released. 1971 England

Jade Warrior's sophomore release continues their unique blend of psychedelic hard rock and world fusion. Of the former style, highlights include the eye opening 'Three Horned Dragon', 'Eyes on You', and 'Minnamoto's Dream'. The latter is one of the album's peak moments and probably is the track that most represents the debut album. The best track for my tastes is the stunningly beautiful jazz / world / rock piece 'Water Curtain Cave' which sounds as if lifted straight from Nucleus' Elastic Rock sessions. 'Yellow Eyes' closes the album in a similar mellow fashion. The 15 minute 'Barazinbar' seamless mixes all these styles into one wonderful psychedelic jam and is clearly the album's centerpiece. Only misstep is the dull rock-n-roll 'Reason to Believe' and is completely out of place here. Otherwise a very fine album, and comes highly recommended.

Ownership: 1974 Vertigo US (LP). Gatefold. Spaceship label. Acquired in 2023.

First copy: 2005 Air Mail (CD). Papersleeve that replicates the six part multi-fold out cover. Acquired in 2005. 

2005; 9/3/15 (review)

Radiomobel ~ Sweden

Gudang Garam (1978)

Not sure how to explain it, but I really like albums such as Gudang Garam (named for an Indonesian cigarette brand). There's a Nordic charm about them as if I'm in a dark wood paneled tavern enjoying an out of world experience (fueled no doubt by a fine Swedish Imperial Stout). Radiomobel represent a combination of symphonic progressive and high flying space rock. The highlight track being 'E-matt' which comes from the latter style and borrows from Kebnekaise's penchant for indigenous melodies. Their symphonic side is best represented by the tracks featuring high pitched female soprano vocals in Swedish, which brings to mind Autumn Breeze (not to mention a host of German symphonic rock bands from this era). On the down side, Gudang Garam is very much an amateur recording, with tinny late 1970s era synthesizers in tow. 

The CD contains great liner notes that explains Radiomobel means Radio Furniture, which the band used as their first amplifier - and subsequently this same amp blew a fuse, causing quite the explosion at - wait for it - Mom's house. lol. I think it's safe to say we're not talking Abbey Road here.

Ownership: 1978 Chockskivor (LP). Acquired in 1993.

1993; 6/2/07 (review); 8/29/15 (new entry); 5/29/26

Akira Ishikawa & The Count Buffalos - African Rock. 1971 Japan

This is not my first run in with Akira Ishikawa & His Count Buffalos, as Shadoks reissued their (next?) album Uganda (1972) on LP and Tiliqua followed up with a CD reissue a couple of years after that (mentioned in the AC's notes as well). I found the album a disappointment, as it was primarily African percussion with a few cool Mizutani freakouts, but honestly it sounded as a late addition, and didn't fit the album as a whole. I'm about 10 minutes in here, and I have to say they reissued the wrong album.

Time to check the archaeology dig notes from the AC to get his impressions: "Akira Ishikawa's travels to Africa and subsequent fixation on fusing African music with modern jazz and rock is well documented, but unfortunately several of his more interesting LPs that came out during this particular period are not. First there was the avant-garde free-jazz freakout "Impression of Africa - 'Uganda'" (unrelated to the later well-known "Uganda" album), a commercially unreleased 1970 live supersession arranged by Masahiko Sato and performed by the combined forces of Akira Ishikawa & Count Buffalos, Toshiyuki Miyama & New Herd, and the Terumasa Hino Quintet. Only a couple of test press copies of this are known to exist (Columbia seemingly deemed it "too extreme" and refused to release it), making it perhaps Japan's rarest and most valuable experimental jazz LP. Interestingly, if you read the liners of the original "Primitive Community" LP, it's actually mentioned there as a "shocking" introduction to the Africa-meets-jazz/rock concept in Japan. But more relevant to the album being reviewed here was "Power Rock With Drums - The Road to Kilimanjaro" (1971, Canyon), credited to Ishikawa, but aside from his drumming actually performed by the Freedom Unity and composed (partially) by Hiromasa Suzuki. This latter name is perhaps the key point here, as although the second side of "Power Rock..." consists of nothing but pop/jazz covers, the first side features two lengthy and more interesting Suzuki pieces fusing African music and progressive jazz-rock. This seems to have laid the groundwork for "African Rock", released later the same year, for although it's credited to and performed by Ishikawa and his Count Buffalos band, all but one of the pieces were actually written by Suzuki once again. 

So, now that we've set the scene, what about the music? Well, thankfully this one is a bulls-eye for what they were attempting. Eight all-original instrumentals (aside from a little "tribal chanting") are featured, and the style can perhaps best be described as a fusion of the better parts of the following year's "Uganda" (think of "Pigmy") with some hints of "Primitive Community", filtered through the psychedelic/progressive jazz-rock stylings that Suzuki would develop over the next two years on his "Rock Joint" albums. The highlight of the album for me is the one-two punch that leads off the second side, "The Earth" featuring some of Mizutani's wildest fuzz soloing ever, followed up by "Love", a darkly mysterious flute and tribal percussion led piece that really nails that "lost in the deep jungle" vibe. An excellent album overall, and hopefully one that will be reissued someday. Confusingly, there was another identically titled "African Rock" LP released in 1972 (this one featuring a close-up of Ishikawa's face on the sleeve), but it consists of nothing but cover tunes and is of much less interest."

If the phrase "Mizutani's wildest fuzz ever" doesn't get your heart started, you may want to consult your doctor. Or your coroner. This album is everything you want in a funk psych jazz rock album - except you almost never do get what you want. It's the perfect blend of sweet grooves, wild psych, and deep funk. Horn charts, flute, tribal drums, and Mizutani psych guitar. What more can you ask for? A really splendid album, that the always deep diving Japanese record companies seem to come through on. It's a matter of patience at this point. But given all the wonderful Japanese reissues we've seen in the last 5 years or so, we can only hope this one will achieve top priority.  I'd be a first day buyer for sure. As for original LP's, well they're predictably expensive - more than I would want to pay for this type of album. I did find a couple of copies out there, if you are so inclined and financially secure.

Personal collection
CD: 2015 Clinck

Originals are stored in a single sleeve jacket and are pretty much extinct. This album is still just being discovered for the first time by worldwide collectors. In what has to be considered record time, the CDRWL alerted the world of the album in April, and by July we had a 100% legit reissue coming out of Japan! Coincidence? Maybe, though The AC informs us (he is fluent in Japanese) that there were hints of influence from us there. That's enough to keep us going anyway! As you can see above, I lived up to my word of being a first day buyer!

Verdaguer ~ Brazil

Humahuaca (1994)

Bassist Willy Verdaguer, born and raised in Argentina, took off for Brazil in the late 1960s to become part of the exciting music scene that had captured the imagination of many South Americans. His most notable contribution was with the respected early 70s underground band Secos & Molhados. After years of production work, Verdaguer reemerged without fanfare and released Humahuaca, an album that was under the radar even in its own day. The title comes from the band name that Verdaguer led in the 1970s and 80s. Flute plays a major role in Verdaguer's sound, and thus comparisons to an instrumental Camel are inevitable, and are reasonable. The pastoral sounds of Casa das Maquinas mixed with Solaris would be another observation. And the pervasive "world music" theme gives off a strong scent of Jade Warrior. If any of this sounds appealing, then most assuredly Verdaguer will satisfy. The big drawback here is the production (ironically given Verdaguer's background), which is muddy, dull, and flat. The tones, especially on the keyboards, are all digital and lack any kind of edge. It's sadly the typical sound of the late 80s and early 90s. The saving grace is the flute, adding a much needed warmth to the proceedings. There's also some fine guitar solos as well. And listen for Billy Bond as a guest vocalist. Highlights include the head raising opener 'Danca dos Dedos', the grooving 'Charara', and the 11 minute prog rock epic 'Pulomelo'. Beyond the production, there is little to find wrong with Humahuaca, and comes as an easy recommendation. While I'm not usually a fan of re-recordings, I would love to hear this album done again with all analog gear, and a crisp production. Because the music quality is there.

Ownership: 1994 Record Runner (CD). Acquired in 1994.

1994; 2009; 8/23/15 (review / new entry)

Acintya ~ France

La Cité des Dieux Oubliés (1978)

Acintya's sole album is square-on instrumental progressive rock, that recalls the symphonic debut album from Carpe Diem mixed with the mysterious Wapassou. String synthesizer along with violin play a major role in Acintya's sound. The production though, is muddy and dull, and takes away all the necessary edges this album needs to be successful. Apparently the original LP on SRC maintains these dynamics, but I only have the Musea LP reissue, so perhaps that's the issue at hand. 

The Freeman's of Ultima Thule say this about the reissue: "The Musea LP reissue of this 1970's French prog gem would seem to be an LP transcription (or from damaged/stretched tapes) with a slight wow/slurring evident on the sustained keyboard tones. This is not so on the original SRC LP pressing. This flaw probably explains why Musea never reissued it on CD." Shortly after they published this, Musea did indeed come forth with a CD reissue. But according to readers of my CDRWL, the sound quality wasn't improved upon. 

1989 Musea (LP). With insert containing historical liner notes. Acquired in 1990.

1990; 8/23/15 (review); 9/27/26

Jordi Sabates ~ Spain

Ocells del Mes Enlla (1975)

Ocells Del Més Enllà is a Flamenco fusion style of progressive rock, with namesake Jordi Sabates on keyboards (Rhodes, Moog, organ, and piano) and Toti Soler on acoustic guitar (often playing in the traditional Flamenco way). The seven piece band is fleshed out with electric guitar, bass, vocals, hand percussion, and drums. Some of the music reminds me of the slower / mellower tracks from the early Mahavishnu Orchestra albums but with a distinctive Spanish flavor (including the familiar hand claps). Wonderful female wordless voices augment this fine recording. 

Ownership: 1975 Edigsa / Zeleste (LP). Acquired in 2023.

First copy: 2000 PDI (CD). Acquired in 2000.

2003 (acquired); 9//04; 6//05; 8/8/15 (review / new entry); 8/13/23 (update)

Asoka - s/t. 1971 Sweden

Asoka were formed from the ashes of Taste of Blues (see link above). Two-fifths of that group reformed into a new band called Take Off (more on that below), and then later merged with the rhythm section of another Malmo outfit called (appropriately enough) Rhythm and Blues, Inc. The Asoka album opens in blistering fashion, with fuzz bass blasting in your face while loud guitars pile on top. 'Ataraxia' continues in similar form, with an excellent organ solo. From here, it's a smorgasbord of early Swedish proto-prog, with the usual strong accent on blues rock overriding a jazzy undercurrent. As is often the case, the tracks sung in Swedish flow more natural than those in English. Highlights, beyond the two opening tracks, include '1975', the violin driven 'If You Feel', the very Swedish 'Tvivlaren', and the Uriah Heep like 'I'm Trying (To Find a Way to Paradise)'. Overall, Asoka is more progressive than say November or Midsommar, and the album prepared local listeners to one day be prepared for the awesome heavy progressive rock outfit Trettioariga Kriget. After a few incarnations, Asoka evolved into the also much recommended Lotus.

As mentioned above, Take Off was the interim group between Taste of Blues and Asoka. This archival compilation includes tracks from Asoka Mk. 2 and Mk. 3 (both recorded after the LP proper), Taste of Blues, and one extended piece from Take Off. The liner notes and ordering of the tracks are an historian's nightmare, however. The album starts with the best recorded track, the superb 'The Seeker', which clearly demonstrates that Asoka Mk. 3 sounded like Lotus at this point. Lotus, of course, being the next incarnation of Asoka. The liner notes make a reference that the band's twin guitar harmonies are "in the vein of Thin Lizzy 1977". Leading many to think this was recorded in 1977. No - it's just referencing Thin Lizzy circa 1977. The track was likely recorded in 1973 at the very end of Asoka's career. And in similar fashion, 'At El-Yago 9-3', the liner notes state it's an early version of a Lotus track released in 1974 (which is when the first Lotus album came out). Meaning, this was probably recorded in 1973 as well. Then there are three tracks, including two cover tunes, where the only cross reference is the writing credits on the one self-penned number go to the members of Asoka Mk. 2, which places the date around '71 or '72 . Though it's anyone's guess if the two cover tracks are from the same session. These songs are all interesting, very much in the same vein as the original LP. Though the sound quality is noticeably inferior. Tracks 6 and 7 are live recordings from Taste of Blues that (finally) have been appended a date, and these are both from 1968. Again, the sound quality is a bit iffy, but for the time and place, these are a couple of nice psychedelic blues rock nuggets. And the last track has to be considered the gem of the set (along with 'The Seeker'). This is the only known recording from Take Off (1970), and it's a fine period-piece psychedelic jam, sounding more like Flasket Brinner or International Harvester at this point. Would have loved to hear more from this bunch. Overall a worthy set for an archival album, though I'd recommend the CD since the album is included as bonus tracks - which, in essence, is really what they are.

Personal collection
CD: 2005 Mellotronen

Originals are stored in a single sleeve cover and are very rare and expensive. My first exposure to the album was via a bootleg CD edition that I picked up from a large collection buy in the late 90s. It wasn't until 2005, that legit reissues finally surfaced. The CD comes in a fine tri-fold digipak with a history of the band, and as a bonus, a full album's worth of archival material. On LP, this archival album was issued separately as Take Off.

Jerusalem - s/t. 1972 England

"Alex, I'll take Obscure Hard Rock Bands from the 70s for $1000". "The clue is.... "1972 England"". "Who is Jerusalem?" YES!  Jerusalem's sole album is so ridiculously square on in the hard rock zone, there can be no other answer. Gritty, no nonsense, twin guitar rockin' madness with gruff and slightly psychotic vocals. Every track is a winner. The compositions aren't brainless either, and especially on Side 2, a fair amount of complexity and extra heaviness enters into the picture. Highlights include the dense 'Midnight Steamer', the heavy fuzz overload of 'Primitive Man', and the Eastern progressive rock laced 'Beyond the Grave'. And when I see the name Jerusalem, and its cover theme portrays The Crusades, I'm in.

It's worth noting that the lead singer adopted the Jerusalem name starting in 2009, against the other members' wishes. I have not heard these two latter albums (including one from 2014).

Personal collection
CD: 2005 Deram/Universal (Japan)

Originals are stored in a fine gatefold cover and can get quite pricey if you're interested in securing one. Like the Strange Days album, this is an album I completely missed in the 80s and 90s. Though at least I'd heard of Strange Days, but Jerusalem was an entirely new name for me in 2005. When the Japanese CD came out, I figured it was just some rock album outside of my interest area. But no, it read well, so I popped for the deluxe version immediately, which was the first legit reissue on the market after numerous bootlegs. But as we know, the expensive Japanese CDs won't keep the pirates at bay, and it wasn't until the Rockadrome CD hit the shelves, that Jerusalem was finally available to the majority of fans. Apparently this CD comes with 5 bonus tracks (one unreleased and 4 alternate takes), plus a 20 page booklet with liner notes from band member Paul Dean and producer Ian Gillan (yes, the Deep Purple Ian Gillan). At some point, I hope to secure this CD as well, as I'm sure it's the definitive version. The Japanese CD of course looks great, and in this case is a straight master tape transfer, so even the most fussy audiophile will likely be pleased with the sound.

Snowdonia - Pallas. 1995 Spain

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

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

Ownership: CD: 1999 Mellow

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

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

8/10/15 (new entry)

Dedalus. 1973 Italy

Dedalus' debut, despite being the first album released from one of Italy's premiere independent progressive rock labels, is actually a pure jazz rock play. The rhythm section is fast, energetic, and super tight. The soloists - namely saxophone, guitar, and cello - are loose and improvised. Odd combination that at times is highly successful, and at others quite tedious. Very much an album worth owning, but not top tier in my estimation.

Ownership: LP: 1973 Trident. Gatefold. Acquired online from a friend (1997).

My introduction to the album was via the Vinyl Magic CD (1990). In 1994, I obtained a brand new LP that was unsold from a shop in Cheyenne! The owner had since moved to Tucson, Arizona, and I acquired it from her a few months later after tracking her down (with help from an antique market in Cheyenne). I made the unfortunate decision to trade that copy off (I was still desperate for new sounds, and I already owned the CD). Fortunately only three years later I acquired another copy that was also close to mint. That one is going nowhere. Occasionally I'll place it on my wall of albums.

1990; 7/3/94; 1997; 8/8/15 (new entry)

Afroskull ~ USA ~ New Orleans, Louisiana

To Obscurity and Beyond (2009)

To Obscurity and Beyond, nine years after their debut, continues with Afroskull's unique blend of: Hard rock - meets Jazz - meets Horn chart driven Funk - all similar to classic mid 1970s Mandrill. When I first heard this album back in 2010, I wrote: "This is the band that Jay Leno should have picked to replace Kevin Eubanks. How badass would have that been? And they're from New Orleans, so he could have scored Politically Correct points right there." A few years later (2015), it's hard for me to argue with that sentiment. Jay Leno and Eubank's replacement Rickey Minor are long gone, and now Jimmy Fallon has his pet band with him. While I like The Roots as much as the next guy, Afroskull - after one of their incendiary jams - leave them smoldering in the wood pile with no hope of recovery (and no annoying hip-hop to get in the way either). Afroskull has two brilliant albums with a niche sound that is rarely heard. As I indicated on their debut, take the Budos Band and mix them with a traditional hard rock outfit, and you have Afroskull. I want to hear more music like this. Really, I do.

Ownership: 2009 Skullsound (CD). Acquired in 2010.

2010; 8/7/15 (review)

Also own: Monster for the Masses

8/7/15 (new entry)

Trikolon - Cluster. 1969 Germany

That Trikolon's sole album exists at all is the result of a sheer force of will. This live concert was privately released in a tiny run of 150 copies, so that an original album today is nothing short of a small fortune. This kind of musical entrepreneurship just wasn't done in 1969 Germany.

I bring this up, because it would be easy to criticize the album in retrospect. Rocked out versions of classical music are yawn-inducing today, but I would imagine it was quite enlightening to the audience that had gathered for this show. And keyboardist Hendrik Schaper puts on quite the performance for those who did attend on this fortuitous night.

Opening track, Brian Auger's 'In Search of the Sun' (from Streetnoise), is extended beyond recognition here. This track features the only vocals on the album, and it surprisingly sounds like Eric Burdon and The Animals. Schaper actually declares the lyrics rather than singing them, just like Burdon would. On 'Trumpet for Example' the ever talented Schaper blows a few notes on his horn, and then gets back to banging on the organ until silly. ''Hendrik's Easy Groove' is indeed a piano recital, and while I'm sure it was quite fun for the audience this one night, it proves to be quite a dull listen for everyone else. Perhaps his mother would have been proud however. Too bad it wasn't "Hendrix's Easy Groove" with an accompanying 11 minute wah wah guitar solo, while the stringed instrument is burning an inferno in front. Ah well. From here on out, it's Rockin' the Classics, where Schaper goes ballistic on his poor organ of older vintage, beating the living crap out of it. 22 minute bonus track 'Fuge' continues in a similar manner, where all of the trikolon get in on the frenetic action.

So imagine Soft Machine circa "III" playing the music of The Nice, and you'd have an idea where Trikolon land. Historically a phenomenon, though modern audiences may get bored. A good one for the collection, though it won't get played often.

Personal collection
CD: 2003 Garden of Delights

The album is a single sleeve private release, at a time when no one did such a thing in Germany. With a small pressing of only 150 copies, this album is through the roof in terms of price. Of course, the Garden of Delights CD is the way to go here (which I dutifully picked up upon release), with a complete history, photos, good sound (from a mint vinyl copy provided by the band), and a 22 minute bonus track.

Ole Lukkoye - Dyatly. 2015 Russia

Dyatly is Ole Lukkoye's 7th studio album (not counting the various compilations), and their first one since Kumeneira over nine years ago. And for me, this is the first Ole Lukkoye album I've heard since Crystal Crow Bar, nearly a generation ago. And it's probably been that long since I last heard this band at all, but my recollection was that Ole Lukkoye played a modern space rock style similar to Ozric Tentacles, with copious amounts of Central Asian indigenous music, somewhat like Korai Orom (Hungary) or the modern Russian band Vespero. But Dyatly is definitely more geared towards a mix of electronica and folk. The kind of folk one might hear on an Atman or Magic Carpathians (Poland) album. And it is here I learn of a new genre, but one I wholeheartedly agree with: Folktronica. Wikipedia defines it as such "a genre of music comprising various elements of folk music and electronica, often featuring samplings of acoustic instruments—especially stringed instruments—and incorporating hip hop or dance rhythms".

And yes, Dyatly definitely projects this club like atmosphere. Chill out music for nomadic tent dwellers on psilocybin.

Given my initial expectations of Ole Lukkoye's sound, 'Kommuna Ra' was a bit of a rough start for me. I kept waiting for the space rock parts, but they were never to arrive. Perhaps it wasn't the best way to start the album, but then again, it's possible I've been way too out of touch with the evolution of the band. But by the title track, I was completely absorbed. This is the highlight for sure, with so many ethnic sounds and psychedelic trimmings, I felt myself being swept away to another world. When 'Bela Dama' opened with the female vocals in an almost prayer like chant, I fully expected to be blown into orbit. But here they chose to introduce the club beats, and it suddenly was all too familiar. But then again, Ole Lukkoye are from the (relatively) western European city of Saint Petersburg, which is a long way from the music the band is emulating. 'Just Wind' continues in a similar manner, at times reaching the highs of 'Dyatly'. The album closes pleasantly with 'Veni, Vidi, Vivi'. And at only 4 minutes, it occurred to me that this is one of the problems with the album: The other songs are just too long (all between 14 and 18 minutes). Perhaps a nice mix of 10 different compositions would have made for a better offering.

All in all, a very solid work. One that has me excited to revisit the Ole Lukkoye albums that I already own. This album comes highly recommended to those who would like to hear a band like Atman take their sound to a psychedelic night club... at 2 in the morning.

Ownership: CD: 2015 Trail

8/3/15 (first listen / review / new entry)

Wicked Minds - Witchflower. 2006 Italy

Wicked Minds are unabashedly retro rock. Hammond, Moog, Mellotron, Rickenbacker, Gibson Les Paul, and... cowbell. You know the drill by now: 1971-1973 Deep Purple, Uriah Heep, and a host of obscure hard rock progressive bands from England, Germany, and Scandinavia. And, to Wicked Minds credit, they actually put the prog in progressive hard rock. And there are a few players in it, all worth checking out: Fellow Black Widow recording artist Areknames, Sweden's Black Bonzo, Blood of the Sun from the USA, and a pile more in recent times that come to mind. In some ways, these bands are better than their 1970s ancestors. I believe that's because they're more focused on the sound they want to achieve. The original bands may have experimented with other ideas, or pursued more commercial avenues due to pressure from major label executives. Commercial success almost always altered a band's direction in those days. Today, success for a band like Wicked Minds would be to keep playing 1970's retro progressive hard rock.

The acoustic piece 'The Court of the Satyr' followed by the blistering heavy organ/guitar of 'Sad Woman' is absolutely splendid and represents the album's highlight sequence.

Ownership: CD: 2006 Black Widow. 2xCD set plus a DVD.

7/28/15 (new entry)

Wicked Minds - From the Purple Skies. 2004 Italy

I had originally written that Wicked Minds was one of the better of the new stoner rock bands to have happened onto the scene. But as I relisten to this 10 years later (2015), it's clear that Wicked Minds were ahead of the curve when it came to retro prog/hard rock. This is a band that truly captures the essence of the early 1970s, while still moving the ball forward into the modern age. Fantastic hard progressive rock, with great period instrumentation such as Hammond organ, mellotron (samples), and fuzz bass/guitar. Long tracks with experimental bits also point to an adventurous heritage typical of the early 70s. All roads lead to the UK non-symphonic school of progressive rock (aka proto-prog). It's nigh impossible to escape talking about From the Purple Skies without at least a mention of Uriah Heep, who they are most clearly imitating. Deep Purple and Atomic Rooster are in the conversation, but distant comparatively speaking. Along with one killer Heep cover, there's also one from Pentagram's early years. If you're into newer bands such as Tarot, don't miss Wicked Minds while doing your research.

Ownership: CD: 2004 Black Widow

7/28/15 (new entry)

Sunbirds ~ Germany

Zagara (1973)

Zagara is a more traditional jazz outing than Sunbirds' awesome debut. However, there are still some great moments to behold. Both 'Fire Dance' and 'Ocean Song' bring back the strobe light Kraut jazz rock groovliciousness, where our fantasy girl in white thigh high go-go boots returns for one more dance. 'African Sun' and 'My Dear Groovin' are also at a high level of melody, atmosphere, and grooves. The other tracks are more or less straight-up flute jazz, though all are thoroughly enjoyable if the genre is favorable to you. Along with the flute - piano, jazz guitar, and a cracking rhythm section provide the necessary ingredients. So perhaps not the ultimate essential album that the debut most certainly is, but a mighty fine follow up for this studio-only project. Recommended.

CD adds a two minute bonus track, but it is nothing more than a tuned percussion accompaniment.

Ownership: 2015 Garden of Delights (CD). Booklet with history and photos.

8/19/07; 7/27/15 (acquired / review)

Sunbirds (1971)

Sunbirds are perhaps the ultimate soundtrack for your next autobahn excursion. We're talking open top BMW convertible, hot megababe sitting next to you, hairspray, loads of mascara and thigh high white go-go boots - with 4 inch heels. Oh really, you have no idea what I'm talking about? Go over to your cable TV and find some independent channel that has some feature at 3:00 in the morning with a name like Weird Ass Euro Theater. Catch a flick like The Girl on a Motorcycle and you're there.... BABY! Must be a European production, even a soft core flick will suffice. Put on the Sunbirds, kick back, relax and drift into your inner vertigo. Extra points if you have shag carpet and wood paneled walls.

Musically the Sunbirds' albums can best be qualified as "flute groovers". That is to say, they are seasoned in the jazz idiom, but also wanted to venture into the psychedelic sounds of the day. Chris Hinze, Lloyd McNeill, and Bjorn J:Son Lindh did this too. But the Sunbirds also had that Krautrock thing going on, and you know they were hip to Wolfgang Dauner, Association P.C. and the whole gang at MPS Records. Plenty of wild fuzz guitar and electric piano. Especially on the first album, the Sunbirds could have easily fit on the Brain label, and may have had they come around a year or two later. File next to your T. Yokota and the Beat Generation record. Of course you have that.

Ownership: 

1971 BASF (LP). Gatefold.

2011 Garden of Delights (CD). Booklet with full history and photos.

10/13/07 (review); 2009; 9/5/11 (update)

9/5/11 (new entry)