Hunka Munka - Dedicato a Giovanna G. 1972 Italy

This is my first time to hear Hunka Munka, one of the very few Italian prog albums from the heyday that I hadn't absorbed prior. That's mainly because I was warded off from it years ago. And after hearing it, I can certainly understand why. Which is not the same thing as stating this isn't a good album. It is. Other reviews I've read do a fine job of reminding the readers that the Italian scene was heavily influenced by the acoustic romantic singer songwriter tradition that still prevailed well into the 1970s. Understanding that will go a long way to having the tolerance necessary to appreciate what sounds like to modern ears as "whiny vocals". The progressive rock element is brought forth early, and 'Ruote e Sogni' is the highlight piece with nice stretches of Hammond organ, and definitely born from the Italian prog rock tradition. But the album careens off the cliff for the final 10 minutes or so, and is purely Italian pop - and fairly annoying at that (despite the observations made above). And that is the last impression left for many a listener, and so it is understandable why folks would actually state it's a horrible album. It's not. But by all means, if just getting into the Italian prog scene, don't go anywhere near this one. I waited over 30 years myself. That's about right...

Personal collection

CD: 2005 BMG (Japan)

Originals are super rare  and apparently sold poorly in its day. Try to get a CD or LP with the gimmix toilet bowl cover.

Hunk Ai ~ Denmark

Hunk Ai (1986)

Hunk Ai, from Denmark, are a textbook Avant-Prog group. Heavily influenced by Henry Cow, Slapp Happy, Kew.Rhone., and Von Zamla, the music of Hunk Ai is wildly unpredictable, angular, and dissonant. At once harsh and then followed by some surprising melodic sounds. Like most albums in the field, there are great moments to behold, including the driving bass work, fantastic production, and the rare (for the genre) psychedelic guitar solo. On the other hand, there are plenty of free noise sections, tuneless percussion, and the ever present shrieking-and-shrill pseudo-operatic female voice that honestly becomes very annoying after awhile. Some of the vocals recall the French band Noa, though I found them less engaging. I used to have much more tolerance for this kind of stuff, but it hasn't aged well for me. But if you're a fan of said genre, this album is an absolute must listen.

Former ownership: 1986 Olufsen (LP). Acquired in 2006.

2006; 3/16/11 (review); 10/26/16 (new entry)

Circus Underwater ~ USA ~ Maryland

Circus Underwater (1984)

Circus Underwater, from the Maryland suburbs of Washington DC, were a progressive electronic group, heavy on atmosphere and with a good grasp of melody. The acoustics are fantastic, and the Frippian guitar leads are really quite splendid. Perhaps had Circus Underwater considered being a Berlin School electronic group in the Tangerine Dream genre, they may have found success at the time - though their sound wasn't that removed from what Klaus Schulze and other electronic artists of the day were attempting. I've seen dealers sell this as "minimal synth" to great success, but that's an entirely misleading genre tag for this effort.

The album is under 28 minutes (Side 2 is about 12 minutes), so it could technically be considered an EP. The Glass Wing label is from Maryland, while the packaging and pressing are from Phoenix. The production and pressing are exceptional. Features a wonderful stenciled front cover. I found this album in a Tucson, Arizona record store in 1994, most likely because it was pressed relatively nearby. 

I received a generous offer for the album direct from my collection, so I sold it.

Former ownership: 1984 Glass Wing (LP). Acquired in 1994.

 

Not reissued on CD as of 2/21/25 (was reissued on LP however).

7/3/94; 2/17/11 (review); 10/26/16 (new entry)

Lied des Teufels - s/t. 1973 Germany

Lied des Teufels is the second incarnation of Hanuman, and is an unusual album that blends Deutschrock with Krautrock somewhat seamlessly. Aren't they one in the same, you ask? Well... no. And this album is the best example I've come across that displays both - right next to each other and even blended together. The trippy/cosmic/psychotic Krautrock side of the band shows up most distinctly on 'Nichts', but in most of the other songs as well. The straightforward German rock side is best exemplified on 'Wenn du fragst', but is also present elsewhere. Certainly not an exceptional album for my tastes - coming across as a less angst-ridden Franz K, for example. But worth checking out, and in my case, ownership for the short term at least.

Oneness of Juju - African Rhythms. 1975 USA

Saxophonist James "Plunky" Branch was the visionary behind Oneness of Juju. He'd already done the complete subversive anarchist bit, giving up his scholarship at Columbia University, evading 'Nam, relocating to San Francisco, hanging with The Black Panthers, and joining far left wing jazz groups of the early 70s. No doubt, he found himself on a variety of US Gubmint watch lists in the day. Eventually he settled back into his hometown of Richmond, Virginia, and realized conservative southern local audiences weren't going to be too enthralled with his current blend of political and musical radicalism. So he decided to blend the best of all worlds. Maintaining the integrity of the deep funk sound, while paying heed to serious African culture, Oneness of Juju was born (out of the former New York City based free jazz group Juju). Branch is to be commended for sticking to his core principles while also appealing to much wider audiences, bridging and forging new relationships across all cultures. As such, the private release gained more popularity in Europe and Japan than in the US in its own era, though today everyone can appreciate the quality of this forward thinking jazz/funk/African-centric set of compositions.

Uppsala - s/t. 1984 France

Where to even begin here? Uppsala is a square-on bulls-eye for the Zeuhl genre... via a mutant early 1980s New Wave lens. They would hardly be alone with the New Wave bit when one considers Superfreego, Foehn, and Fiction-era Eskaton. But... no, it's not like that either. Band leader Phillippe Cauvin sings in a strange high pitched voice (not in Kobaian, but a crazy scat / French hybrid - or onomatopoeic as the liner notes state), at times even evoking Devo of all groups. There's a strain of complex jazz fusion, as well as early 80s Belew era King Crimson. Highly unique for sure, and if you can tolerate those distinct early/mid 1980s tones, then Uppsala is going to be an instant hit in your household. Even stranger is the 3 bonus tracks on the Musea CD, where the band is playing live in 1995, and continuing on as if not much has changed in 10 years. But now with early 70s styled psychedelic guitar layered on top (recalling Cauvin's own past with Absinthe) - something that would have added at least a half point to the original studio recording. There's nothing else quite like Uppsala. I think it's appeal is wide if considering Zeuhl, early 80s Crimson, and late 70s fusion. Though dedicated fans of all 3 may be scratching their head, trying to understand what the other genres are doing to screw up their style. Yea, this is one to get for sure.

Personal collection
CD: 2001 Musea

Sand - Golem. 1974 Germany

Sand's Golem could have only come from one time and place, and that's early 1970's Germany. Anything else, and it flat out doesn't work. What we have here is a basic folk album drenched in Kosmische dressing. Somewhat like Dom, but not near as inventive, pensive, or intense. This is more like watching a common folk act on stage, but with a good buzz on (and to that point, 'On the Corner' takes away the fuzzy lens, and it's not pretty). For one thing, it was a studio project to begin with, mainly to help demonstrate the new Artificial Head System. Klaus Schulze's fingerprints are all over this from a sound perspective, so if you're not a fan of his, then I suggest you maybe steer clear. But once Current 93's David Tibet and NWW's Steven Stapleton went hogwild on the album (and released it jointly on CD), it became a cult classic sought after by disciples of both groups. And now, some years later, the "overhyped" crowd has showed up and are squawking FOUL. Fair? No, not really. It's an understated and trippy 1970s album, which doesn't always play well in modern times. All the same, it's easy to understand why Sand isn't highly revered in all quarters. Take away the electronics, and the appreciation of the unhinged experimentalism of the era, and there isn't much else to grab onto here. File under the Good, But... category. And yes, 'Sarah' is the gem of the album for sure.

Personal collection

CD: 1996 United Durtro (UK) as Ultraphonic Seraphim

This 2 CD set includes much more unreleased Sand material (a full disc and a half - and as such, is worthy of a separate rating) plus liner notes from the band, Tibet, and Stapleton + photos, etc.... A real first class job and well worth owning. I did once have the original LP in the early 90s, but it was not in very good shape and sold it when the CD arrived. This is an album that must have clean sounding vinyl, or it ruins the experience.

Randy Denison - Collage. 1970 USA

"Good but tame folk/psych" is actually the perfect review here. Certainly not an unknown masterpiece, but Denison's sole album has its merits. There's some of that lost and hazy cabin folk sound here. It's distant, yet still accessible. The sparse flute helps with the vibe as well. Too much time is allocated to his mundane singing, but if 1970 folk psych (in that order) is your thing, you might want to seek out. Really cool gatefold cover - a true relic of the era.

Personal collection
none

As you can see, I did sell my copy (this year in fact via our Purple Peak Records shop). Still, I felt it worthy of mention as it is good, but I just can't keep them all!

Blue Effect - Meditace. 1970 Czech Republic

To alleviate any confusion from other reviews you may read, Side 1 is the Czech vocal pop session, whereas Side 2 is the Blues rock portion in English. Despite Side 2 having the better rep, arguably the first track on the album is the clear winner (sounding more like Os Mundi's Latin Mass). Just the fact that The Blue Effect were allowed to sing in English is quite the extraordinary accomplishment for a band behind the Iron Curtain in 1970. A fine album given the time and place, but far different than the jazzier efforts to come, and one could easily make the case this is Blue Effect/Modry Efekt's weakest album.

Personal collection
CD: 2009 Supraphon (as The Blue Effect 1969-1989 9 CD compilation)

Charisma - Beasts and Fiends. 1970 USA

Charisma were a band from the Hartford, Connecticut area, and were very typical of the confused American year of 1970. I speak of this often, and it basically means that bands were throwing any and everything against the wall hoping it would stick - or in practical terms - obtaining radio airplay. And Charisma falls in line with their mix of blues, hard rock, progressive, psych, and old fashioned rock and roll. It's a mess basically. But some of these albums had gems in the midst of the ordinary, and that's where we come in. Charisma has a strong Hammond organ and overall keyboard presence, and there are a couple of tracks that display this in an instrumental progressive rock format ('Street Theatre', 'Ritual Dance of the Reptiles'). There are other very good proto-prog/bluesy numbers in 'Leopold's Ghost' and 'The Age of Reptiles'. The rest is take it or leave it...

... And then there is the title track. Believe me folks, it is worth the price of the CD just for this piece of mesmerizing insanity. Sounding like a most incongruous meeting between Comus, Uriah Heep, Stark Reality, and Funkadelic - a bizarre kindergarten story made for the Public Broadcasting Service on LSD. Whoa. I wasn't ready for that. Amazing.

Personal collection
CD: 2008 Wounded Bird

The CD on Wounded Bird states a 1970 copyright date, and this is corroborated on Discogs. Typical bare bones CD from Wounded Bird, with lyrics for 4 of the 5 tracks and album credits. Sure would like to know the story behind the title track...

La Torre dell'Alchimista - Neo. 2007 Italy

La Torre dell’Alchimista (LTdA) are one of the many current Italian progressive rock acts that are recreating the sounds of the past and moving it forward to the 21st century. LTdA are a bit more purist than most groups in this space, eschewing modern tendencies such as metal, electronica, and post rock. Keyboards are the focal point, like with many of the 1970s classic groups, and bandleader Michele Mutti possesses an impressive array of vintage gear including Hammond C3, Mini Moog, Mellotron, and a 1973 Fender Rhodes amongst many others. However, unlike fellow Italian retro rockers Wicked Minds, modern production techniques are in full force, and there’s no question that LTdA are a band from the current age. All of these historical references don’t matter if the music compositions aren’t there - and LTdA come through on this front. As students of the Italian progressive rock genre are keenly aware, the options of creating exciting and unique music is immense, and LTdA have found their little slice of the big pie. And fortunately they use the Italian language which goes so naturally with the style. File along with La Maschera di Cera as the current torchbearers of the original Italian progressive rock sound.

Ownership: CD: 2007 Ma.Ra.Cash

9/17/07 (first listen / review); 10/15/16 (update / new entry)

Country Lane - Substratum. 1973 Switzerland

Country Lane are a Swiss group from the French cantons, an area without much representation in the progressive rock annals (Docmec, Pyranha, Sicher, and the modern group Galaad are all that leap to mind). Substratum contains a diverse set of tunes, drawing anywhere from heavy proto-prog, jazzy bits, amateurish humor, to post psychedelia, and all in between. Clearly influenced by the more known UK artists of the day, one could also easily draw a dotted line with the Belgian underground scene. Bands like Shampoo, Waterloo, or even Lagger Blues Machine. Frank Zappa is, as to be expected, the quoted reference by the band and a good guidepost as well. Perhaps not groundbreaking, but solid fare all around.

Ownership: CD: 2000 Musea (France). Jewel case release with full historical liner notes in English and French. Online purchase (2005).

9//05; 10/14/16 (new entry); 9/15/23

Catherine Ribeiro + 2 Bis. 1969 France

One can only wonder how a beautiful actress and fashion model ends up releasing one of the most extraordinary avant garde rock works of the late 60s. Perhaps one should not ask lest they be missing key body parts to procreate. This could not happen in America. It had to happen in France. Right there, one imagines a quick camera panning over to David Childress and he says in his uber-dork voice "It's obvious. It must be aliens...."

There are two ways to approach Catherine Ribeiro + 2 Bis. 1) As an alternate universe music choice as created by the eternal consciousness.  2) Run. Run far away. She is the single most dangerous girlfriend in the world.

Femme fatale of the unhinged psychedelic underground. Keep the lights on. Make sure your friends and neighbors know where you are at all times.

Ownership: LP: 1969 Festival. Single sleeve with "languette" (tab). Acquired at the famous Paris Clignancourt flea market many years ago (1990) for a few dollars. I saw more copies too while there. A different era...

CD: 2015 Mercury as part of Intégrale Des Albums Originaux 1969-1980 9 CD set. Until 2015, this album sadly remained without a CD reissue. Even though I already owned 4 of her albums on separate CDs, I had to have the box set just for the first two albums if nothing else. 

I just received a most intriguing e-mail from the Seine-Saint-Denis Tourist board asking that I publish a couple of useful sites regarding record stores in the flea market area. A very reasonable request, and here they are: http://uk.tourisme93.com/record-store-owners-in-saint-ouen-flea-market.html and http://uk.tourisme93.com/saint-ouen-clignancourt-flea-market-access-and-opening-times.html

5/18/90; 10/14/16 (new entry)

Abiogenesi ~ Italy

Le Notti di Salem (2000)

I wasn’t expecting much after being underwhelmed by Abiogenesi's first two albums. Careful inspection shows the band had recruited winds player Clive Jones for this album, an original member of the British band Black Widow (and perhaps the blueprint group for the same-titled label). To me, this seems like a more professional recording than before. And perhaps because I understand more what they are trying to accomplish, I can appreciate this outing a bit more than prior. Really, it’s not much more than old fashioned UK heavy rock (sung in Italian mind you) with progressive touches such as (sampled) mellotron, organ, flute, acoustic guitar, and vibes. So classic Italian progressive rock it’s not, but then again no bands up to that point on the Black Widow label were so anyway (they've since added a few). Highlights are the fine guitar work augmented by some well chosen Hammond sounds. The vocals, fortunately in Italian but infrequent, aren’t award winning but not too hard to digest. If there’s a problem here, it’s that the drummer plays it too nonchalantly. This kind of music requires a hyperactive base, with fills galore.

I should probably revisit their earlier albums. I haven't heard them since they came out real time in the mid 90s. They also have a couple of other albums since this one I wouldn't mind hearing.

Former ownership: 2000 Black Widow (CD). Eight panel poster booklet with recording details and two band photos. Acquired in 2005. Downsized in 2026.

2005; 8/20/13; 10/13/16 (review); 2/20/18; 8/20/20

Formerly owned: Abiogenesi (1995); Il Giocoscuro

10/13/16 (new entry)

Aziola Cry - Ellipsis. 2005 USA-Illinois

Aziola Cry are a band from Chicago who took instrumental mid 70s King Crimson as a blueprint - and who were lead by a stick bass player - and then added a heavy metal undertone. It's "so 2005". I kind of like it anyway.

Ownership: CD: 2005 Translation. Comes in a nice digipak. Very obscure release, and I added it to Discogs myself in the last few months. Since then, one other person has claimed ownership. I wonder if albums like these will get discovered at a later date in the same way as the 1970s and 80s are being mined now?

5/16/06; 10/13/16 (new entry)

Chalibaude ~ France

Les Noces du Papillon (1976)

Interesting, and very good, folk rock album from Nantes, an area that traditionally belongs to Brittany, but administratively falls outside of it. Likewise, Chalibaude's music is heavily influenced by Celtic culture, but is sung in French. The liner notes inside the gatefold go so far as to translate the French words into Breton for the local buying populace. Musically, Chalibaude is similar to a combination of Malicorne, Gwendal, and Avaric. A fine progressive folk rock album, that is remarkably consistent without any major highs or lows.

Ownership: 1976 Cezame (LP). Gatefold with lyrics in French. Includes a glossary for Breton speakers. Acquired in 2003.

No reissues as of 6/19/26.

11/3/03; 2/14/11; 12/28/15 (review); 6/19/26

10/2/16 (new entry)

Osiris. 1982 Bahrain

Osiris are arguably the Arab worlds' most prominent progressive rock band. They are from the tiny kingdom of Bahrain, once a British Protectorate, and as such you have an English speaking nation with an underlying western background. It is out of this environment that Osiris emerged. And yes, it's true, the band are heavily influenced by the UK progressive rock scene of the 1970s. Most notably Camel, but any number of mainstream bands will come to your lips as you hear this debut. Even a bit of what would later be known as Neo Prog is presented here. Sadly there are no indigenous elements to their sound, so it's not like you'll hear Yes meets Agitation Free's Malesch for example (perhaps we can dream for this one day?). It's best (and fair) to approach Osiris as an anonymous progressive band from the US or England. And on that front, they come up aces. The compositions, while not incredibly dense, are complex in the right places - and they never forget that melody drives the song. If only there were more examples from the region...

Personal collection
CD: 1997 Musea (France)

I did once own the original private press of the album, so it does exist. I traded the LP in the late 90s, after obtaining the Musea CD, for something else I wanted. The Musea CD is excellent with great sound and full liner notes. And it's in these liner notes that we are made aware of...

The last track 'Look Before You Leap'  is actually a bonus track and was recorded in 1989. Musically it is far more poppy than the album proper and shouldn't be considered in the overall evaluation.

As well, note that track 7 is called 'Paradox in A Major', presumably referencing the scale, not some confusion in college curriculum. 

Bauhaus - Stairway to Escher. 1974 Italy (archival)

Comparisons to Perigeo are about right, and that’s definitely where the Italian band Bauhaus built its campfire from. But whereas Perigeo seems to get stuck in slickly polished fusion hell, Bauhaus have a much more raw sound and energy about them that is completely endearing. What I particularly enjoy is the nimble guitar playing, but with a raw biting fuzz tone. The ensemble playing is highly melodic (sax, electric piano, guitar), another great quality. Fantastic rhythm section as well. Sometimes the group will go in no mans land, as the jam will hit a dead-end road and they'll just grind their way through it. Since it wasn’t really meant for release to begin with, hard to fault the final product too much. Other reference points are fellow Italians Napoli Centrale and the German outfit Out of Focus on Four Letter Monday Afternoon. All clearly looked to Soft Machine and Nucleus as inspiration here. If any of these bands set off your iPhone Fusion Want app, then by all means investigate Stairway to Escher.

Personal collection
CD: 2003 Akarma

Akarma's track record on reissues is clearly checkered, but this archival release is nothing but first class. Fully authorized with band participation and fantastic liner notes - all housed in a wonderful hard bound digi-pak. Great sound of a live concert recorded in Rome, May 1974.

Alas. 1976 Argentina

Coming from Argentina, Alas displays their Italian heritage quite vividly. In many places, one can hear that distinct early 70s Italian prog interpretation of ELP (Triade, Metamorfosi, The Trip, etc...). In addition there's also a predominance of mid 70s jazz fusion dispersed about, so there are many long stretches of gratuitous soloing. And finally, there's a bit of avant-garde experimentalism sprinkled indiscriminately, including drum solos. I do think it's a worthy addition to any progressive rock collection, though I don't appear to be as high on it as my peers.

Ownership: CD: 1996 PRW (Brazil). The CD is licensed from EMI Argentina. The first side is clearly taken from vinyl, whereas the second seems from master tapes. So unless the 2007 EMI release has found the masters, the sound will be suspect. Most original vinyl I've heard isn't much better either. Too bad really. The CD does feature brief liner notes, photos, recording details, and a rare 45 single from 1975 that demonstrates Alas in more compact form.

Now ~ USA ~ Denver, Colorado

Now What? (1990)

Now's sophomore effort shows the group leaving the hippie university town of Boulder, Colorado, and resettling in the San Francisco Bay Area. Musically, Now What? is more subdued than its riveting predecessor, demonstrating a mix of neo prog, rural psych, and symphonic progressive. The last two tracks, though, recall the debut's psychedelic eclecticism and quirkiness, and represent the highlights here. Reminds me of another Bay Area band: Episode. Not an album likely to set one's world on fire, but still a decent way to pass 40 minutes or so.

Ownership: 1990 Syn-Phonic (LP)

1990; 10/2/16 (review)

10/2/16 (new entry)