Ere G - Au-Dela des Ombres. 2002 Canada-Quebec

Ere G's sole work is quite simply a well researched retro Quebecois styled prog album. Acoustic guitars, fluffy French vocals (well, they are fluffy), mellotron (lots of this), acid leads, Moog (lots of this too), flutes.... and most importantly gorgeous melodies. One tends to forget this component in these modern analytical times. Harmonium is probably the main influence here (think Les Cinq Saisons). Also elements of Et Cetera, Pollen, Morse Code, Opus 5 (note cover), plus Ange from the mother country (note title). There are many albums that attempt this sound, and fall flat. This one is special. The ingredients are darn near perfect, but the special touches this one has are remarkable for a debut acting in a pure retro capacity.

Personal collection
CD: 2002 Ipso Facto

Friendship Time - s/t. 1976 Sweden (archival)

Holy Moly, these are the kind of unreleased recordings collectors live for. A full blown professional recording that was slated for release on Virgin (I mean Virgin? That's BIG time for a rural Swedish group). Reminded me of the day that the Norwegian post-Host group Deja-Vu was discovered in the mid 90s. Friendship Time play an English inspired brand of progressive rock, not necessarily the big 3, but a cousin of that: Flash. I always felt Flash were highly neglected, perhaps not meeting the lofty standards of the mothership band - nor the keyboard heavy approach. There's also a distinct Swedish rock sound found here, notably Trettioariga Kriget (especially at the time of the second album) and the laissez-faire melodicism of the first Lotus album. Beautiful digipak release with histories and photos. No brainer pick up for Euro progressive rock heads (like me).

CD: 2007 Mellotronen

Circus. 1969 England

Most famous for featuring Mel Collins on flute and sax, later of King Crimson. For what this is, it's outstanding. Jazzy progressive instrumental work, with fantastic musicianship and great tones. But, and it's a big but, most of the material are cover tunes. Some are more recognizable than others, and pretty much feature extended, improvised, and original jams on most tracks. So, as I said, about as good as it can get for the limited style.

Former ownership: CD: 2005 Arcangelo (Japan). Papersleeve edition.

My first copy was the Get Back LP reissue.

2000 (first listen); 5/11/17 (review / new entry); 2/18/24

Galaxy - Visions. 1978 Germany

Visions is an interesting album that somehow missed my radar back when the CD was released. Either I was quick to presume they were related to the Nature's Clear Well bunch (properly known as Waniyetula) or they were the Florida band Galaxy that had one private press from the same era (and the album covers have a striking similarity on first glance). In any case, this Galaxy are a product of the late 70s German underground. Their sound and instrumentation seem born from 1969, but the music is of their own era. The single best way I could characterize Visions is that of a garage version of symphonic Eloy. Imagine Oceans with primitive psychedelic equipment. Ravjunk playing Silent Cries and Mighty Echoes? Not a bad premise actually. I like it.

Personal collection
CD: 2002 Garden of Delights

Solaris - Nostradamus. 1999 Hungary

For my tastes, Solaris' 1990 is one of the greatest post 70s progressive rock albums there is. There was a magic about it that captured my imagination greatly when first released, and it preceded even Anglagard in that this whole prog rock revival thing might be worth staying around for. Of course the debut Marsbeli Kronikak is table stakes for any 80s progressive rock collection. Then I saw Solaris live in Los Angeles and was mightily impressed.

It is with this background that I came into Nostradamus with. And while the great prognosticator had been played out already, who better than Solaris to elevate it to the highest level of art? For me, this was one of the most anticipated albums I can ever recall.

Hmm. It just didn't happen. I recall vividly my first impression. I was nonplussed. Not disappointed mind you, just not wowed as I expected to be. Of course it's often time nigh impossible to meet such a lofty, perhaps unrealistic, goal. My Gnosis grade in real time was a 10 (a 3.5 here). And into the collection it was filed after a couple of earnest attempts of "feeling it". And now, I finally have brought it back out from the vaults for a revisit. Here's where I'm going to tell you my tastes have changed, and I have a whole new appreciation for it right? Nope. It remains a 3.5.

The odd thing about Nostradamus is it sounds very much like Solaris. I wouldn't chalk it up to the sudden tragic death of guitarist Istvan Cziglan. Even more bizarre is that the opening 3 'Book of Prophecies' tracks are the weakest, which comes completely unexpected. There's a hollowness to the overall sound here. It's big and bright, and very much a product of the 90s. But it isn't exactly like 1990 was an analog dream. In fact quite the opposite. If it not for the brilliant flute work of Attila Kollar, the album wouldn't be as good as it even is. But his brilliant phasing, melodic disposition, and overall tone is hard to beat. At this point, he seems to be Solaris. And it comes as no surprise he later ventured on his own for two more albums that surpassed Nostradamus in quality.

I want to be clear here: This is not a bad album by any stretch. But the Solaris name is highly revered in the ashratom world. And this one came up short. Perhaps I should have predicted it. The protagonist would have. Or would have he?

Ownership: CD: 1999 Periferic. Jewel case purchased new upon release.

Jargon ~ Finland

Jargon (1980)

Jargon are, in effect, Finnforest Ver 2.0. Their sole album continues on the path of the mothership, and were fully immersed into the fusion trends of the day. The sound is light and breezy but the songwriting is solid, and the melodies thought out. Some nice guitar and synthesizer leads adds points. Highlights include the opener and 'Erect', which starts perilously like a drum solo, before gathering itself into a fine composition. This is an album I owned 20 years ago and tossed into the sell bin. Purchasing the vinyl again proved there's more here than my impetuous youthful ears would allow then. If you're looking for the more progressive oriented Finnforest sound, I'd probably steer clear. This is an album for late 70s and early 80s fusion freaks only.

Former ownership: 1980 Dig It (LP). Acquired in 1994.

1994; 5/7/17 (new entry)

Leviathan ~ USA ~ Memphis, Tennessee

Leviathan (1974)

Leviathan were a band from Memphis, Tennessee, who managed to squeak out one LP before being dumped into the $1 bins of the day (not so any more). Opening with a mellotron blast, one could easily be swayed into thinking this will be a full on prog rock extravaganza. Couple that with the long songs and intriguing album titles, this will be a sure fire winner along the lines of Mirthrandir or Cathedral. Right? Wrong. Leviathan are basically a hard rock band, with a few stretched ideas, and a keyboardist who loves him some mellotron (it's all over this disc). Once you buy into the correct premise, the album delivers a fine set of tunes, with highlights that include 'Arabesque', 'Endless Dream', and 'Angel of Death'. The album sort of poops out at the end, and leaves the listener with a bad taste. Sort of like eating the peas after the steak. In any case, this is an album I owned for many years (both on LP and dubious CD), and pushed them both into the sell bin. Another Mach LP copy floated my way recently, and this visit proved to me that Leviathan is a fine mid 70s hard rock album.

Ownership: 1974 Mach (LP)

1992 (first listen); 5/7/17 (review)

Keep - DG-581. 1981 Japan

At one point 20 years ago, I possessed both the Keep albums on LP, and thought the second was far better and edgier. And sold this one. Now I have this one rated higher after a revisit. And while I do agree still that the second album is more rock influenced, I appreciate the songwriting on DG-581 more. The slick sounds can be initially off putting, but to genre fans it's part of the package. But there's a lot of depth to these compositions, and the melodies can put a smile on your face. The usual suspects like Weather Report and Return to Forever can be called out as influences, along with a host of indigenous bands doing the same (not the least, related band Prism).

Personal collection
CD: 2011 Clinck

To the best of my knowledge the Japanese mini-LP on Clinck was not released separately with an obi, but rather it is part of a 5 CD package called J-Fusion Masterpiece Collectors' Box.

Serge Bringolf Strave ~ France

Live (1983) 

Strave always had a bit of a jazzy disposition to add to their unique brand of Zeuhl. By 1983 though, the band had moved onto full-on jazz. There's still the rock base, and the Zeuhl component only comes through in the repetition of the rhythm. There's quite a bit of sax soloing throughout. This live recording is not quite up to modern standards, but it's certainly better than an audience recording or something of that nature. A moment in time captured well. This one is on the margins of my personal interest area, but jazz fans with an interest in Zeuhl are encouraged to seek out. 

Former ownership: 1983 RBO (LP) 

This album remains without a reissue as I update this post (5/28/26).

5/7/17 (review)

Vision (1981)

Strave's debut is like a Zeuhl Big Band playing jazz rock. Vision sees Strave moving closer to the Zeuhl center, where the chants are more prominent and the horn charts are tighter. Where the rhythms are more active, and the overall feel is kinetic. It's a second generation Univeria Zekt and definitely the peak for Serge Bringolf. A superb album that sits in the top tier of the Zeuhl echelon.

Ownership: 1981 Omega Studio (LP). Acquired in 1990.

1990; 11/29/12 (review); 7/28/23

Serge Bringolf Strave (1980)

Drummer and bandleader Bringolf put together the ten piece Strave outfit that resembles a big band version of Magma. Trombone, trumpet, sax, violin, vibraphone, bass, and flute represent the instruments utilized along with wordless voice. No keyboards or guitar, which is unusual for a group with any kind of rock context such as this (even though the scales are clearly tipped towards a jazz sound). A unique band in the Zeuhl world.

Ownership: 2011 Soleil Zeuhl (CD). Booklet with historical notes and photos. Acquired in 2011.

First copy: 1980 Omega Studio (2xLP). Acquired in 1994.

1994; 1996; 7/8/11 (review)

7/8/11 (new entry)

Morse Code - Procreation. 1976 Canada

Procreation is Morse Code's second album, and 4th if considering the Transmission appellation. Somewhere between Relayer and Going For the One era of Yes, but sung in French. This is one of those albums that is subtle, but once you track the scent, the wow factor is apparent. One of Quebec's finest albums. A masterwork really.

Personal Collection
CD: 2007 ProgQuebec
LP: 1976 Capitol

I should get the LP again. The trick is finding one where the cover isn't trashed, and found here in the States. The postage from Canada is often more than the album itself. The CD is awesome though, with full liners, bonus tracks from a single, etc... The CD will stay.

Pseu. 1982 France (archival)

The early 1980s were a heyday for the Zeuhl style of bands. Not that anyone knew it then of course, except those crawling around the clubs in and around Paris, Nice and Marseilles. Bands like Eider Stellaire, Eskaton, Super Freego, Uppsala, Honeyelk, Jean-Paul Prat, Xaal, Xalph, Shub Niggurath and Dun were all making the rounds back then. Now we can add Pseu to the pack. They never did get around to releasing their music on album, so this 2004 Musea reissue is quite a revelation. It takes a bit to get going, and unfortunately this isn't a typical Musea reissue with great liner notes in English, so it's hard to know if it's the earlier or later material that's suffering (recordings are from both 1981 and 1982). But by track 5, Pseu is firing on all cylinders and continues through to the end (and this section covers about 35 minutes and is the bulk of the disc). And, like Eider Stellaire, the guitar is featured far more than on most Zeuhl albums. The vocals are pretty much all chanted using only phonetics rather than actual lyrics or even made up languages. Naturally the bass playing is superb and the drumming here is also better than Eider Stellaire. A wonderful discovery for any Zeuhl fan.

Ownership: CD: 2004 Musea. Jewel case.

9/18/07 (review); 5/6/17 (new entry)

Mediterranea ~ Italy

Ecce Rock (1981)

Nice instrumental guitar / keyboards trio from Italy with quite a bit of mandolin as well. The music has a Turkish / Greek / Arabian vibe. The album gets better as it goes. Apparently the band were striving for the indigenous sounds of Campagnia (southern Italy) mixed with rock, which they succeeded on accomplishing.

The original cover isn't the best, and new artwork was wisely applied in Japan. When the album was reissued in Italy, they used the Japanese cover.

1981 King (LP). Acquired in 1995.

1995; 2009; 5/6/17 (review / new entry); 9/27/26

Invisible ~ Argentina

Durazno Sangrando (1975)

Durazno Sangrando is a continuation of the same style as the first album, a loose mixture of hard rock, jazz, and blues. But the progressive rock component is even more highlighted than prior. The sound is closer to El Reloj II than I had ever realized before. Excellent band that took me too long to figure out.

Ownership: 1992 Sony (CD). Acquired in 2017.

First copy: 1975 CBS (LP). Acquired in 1993.

1993; 1996; 4/20/17 (review)

Invisible (1974)

Like a lot of bands from 1970s Argentina, Invisible was somewhat lost on me (so to speak). I didn't get the allure and hastily dumped their catalog in the 90s. This revisit proves once again that the understanding of the region's music scene from which they derived is important. Band leader Spinetta was already a veteran of the blues rock scene (Almendra primarily) that dominated the minds of the time. And with that he brought a loose structure of ideas, incorporating hard rock, psych, jazz undertones, and progressive structures to the blues foundation. As with the Franklin (Spain) archival album I recently reported on, there's this inherent early 70s Italian quality about this album. I hear a lot of Garybaldi's Nuda for example, so the ghost of Hendrix definitely has a presence here as well. The bonus 7" (which was included in the original LP and on the CDs) offers a glimpse into the world of early Yes. These type of albums are fun to listen to, not overly challenging, yet unpredictable all the same. For traditional prog fans, this one will go by without notice. But if you dig bands like Aquelarre, Claudio Gabis y Le Pesada, Pescado Rabioso, El Reloj, et al, then this one comes as an easy recommendation. Glad I received a second chance.

---7/2/26

I didn't mention the other four bonus tracks, both coming from 45s surrounding the album proper. They are remarkably similar to the additional 7" that was included with the LP proper. There's this Led Zeppelin meets Yes quality about all these songs. They're based in the blues, yet they are not restricted to the genre, and add many unique ideas.

Ownership: 1996 Microfon / Sony (CD). Booklet with lyrics and recording details. Includes the original EP + four bonus tracks taken from two 45s (1973, 1974). Acquired in 2017.

First copy: 1985 Talent (LP). Acquired in 1993.

1993; 4/4/17 (review); 7/2/26

Also own: El Jardín De Los Presentes

4/7/17 (new entry)

K. Tanaka & Super Session ~ Japan

British Rock Live in Japan (1972)

It's 1972 Japan, but in reality, this album is pure Krautrock freakout city. You know the drill by now - think debut albums by Guru Guru, Ash Ra Tempel, Tangerine Dream, etc... If you enjoy that sort of thing, then you will absolutely swoon for this one. If not - run... run... RUN FAR AWAY from it. I presume you all know by now where I stand on such music.

There are three tracks on the album - totaling close to 60 minutes! Most of the album are interpretations of various artists, and the other is a theoretical cover tune. The album opens with 'Trip To West Coast From Britan' (sic) and purports to honor The Grateful Dead, Deep Purple, Atomic Rooster, Frank Zappa, and Uriah Heep. Well good choices for certain. Not that you'll recognize a single one of them here. Tanaka and his motley crew essentially destroy everything in its sight with a psychedelic rampage. Side 2 is a psychotic variation of Pink Floyd's 'Echoes', a composition that is already greatly enhanced with alternative substances, but this takes the idea to its logical extreme. This is followed by a tribute to Jimi Hendrix, and at this point they're pretty much putting the torch to the studio and igniting it in flames. As the AC astutely observes: "It all seems to be semi-improvised, driven by pummeling rhythms that sort of ebb and flow while the bass, guitar and organ converge and coalesce into one freaky jam after another. Even the most stoned-out-of-their-minds krautrockers would have been shocked by this level of depravity."

Ownership: 2016 Think! (CD). Papersleeve

4/14/17 (new entry)

Marcus ~ USA ~ Detroit, Michigan

Marcus (1976)

In the record collecting world, there is rare, unknown, and obscure. No album better demonstrates the latter like Marcus' sole album. I've been at this racket for 35 years, and it's only recently that I've even heard of the album. No doubt I passed over this LP hundreds of times at record stores and fairs since the 1980s. With an album cover like that, it just didn't appear to be anything that would be in my interest area. But once I got the scent, and did a bit of research, it was clear this is something I needed to secure for the collection. With a recent and inexpensive CD reissue on Rock Candy, off to Amazon I went, and here we are.

Marcus (the band) is definitely an example of lightning strikes once. Bandleader Marcus Malone was already a known entity, having joined a late era Mitch Ryder and the Detroit Wheels lineup as lead singer. His band was gaining strength as they played in the more known clubs throughout the Midwest, especially in his hometown of Detroit and nearby Chicago. Eventually none other than Ike Turner discovered the band, had them signed up to United Artists, and flew them out to Los Angeles to party (and presumably record an album). The label and studio insisted on some lineup changes as well (including adding Cactus' Tim Bogert on bass), and that's how they ended up with the unusual three guitar lineup.

With that setup alone, I wouldn't have expected much to be honest. But the reality is far different. Marcus predicted the oncoming hard rock and heavy metal movements. And he (Malone) had a personal love for progressive rock. All of those ingredients found their way into this recording. For 1976, on a mainstream label like UA, this album was doomed to be a cult classic from the get. Apparently the Europeans caught wind of it a few months after release (long after Turner and the label had lost interest in their new toy), but it was all too a-day-late-and-a-dollar-short.

There are no weak tracks here, though not every song is a winner either. But for fans of mid 70s hard rock, it's a bullseye. The finale 'Rise Unto Falcon' is the song that most demonstrates Marcus' prog rock interests, with loads of mellotron to boot. Predictably that was my favorite of the batch, as I never seem to tire of that unique blend of hard rock meets progressive sound.

History tells us that even if Marcus had survived this recording and made another, it wouldn't be anything similar. It would have been highly likely that funk, soul, pop, or disco would have been forced onto the band, and they would have ultimately disintegrated anyway. That tale has been told numerous times. Perhaps it's best Marcus went out on their own terms, with an album (and name) highly revered 40 years after the fact.

---8/9/26

I didn't offer up any comparisons above, but in hearing it again, I heard similar era Scorpions (not too many albums remind me of this era of the Scorps), first album Montrose, and even the heavier spectrum of Styx. An excellent album that continues to grow in stature for me.

Ownership: 2014 Rock Candy (CD). Booklet with extensive historical liner notes and photos. Acquired in 2017.

4/10/17 (review); 8/9/26

4/14/17 (new entry)

Laurence Vanay ~ France

Les Soleils de la Vie (1977 / 2016)

In 1977, it appeared that Jacqueline Thibault (Laurence Vanay) was finally on the verge of obtaining her big break. After two releases on obscure French and Italian labels, major corporation Decca was much interested in the talented Ms. Thibault, and expressed a desire to release her next album. Once delivered, the label had asked for a remix, but given other issues with the studio that she was a (small) stakeholder owner of, priorities slipped, and the album was remixed in the mid 1980s. By then, it was all too late of course.

Jacqueline Thibault was always a bit different. She grew up a child prodigy, with overly protective parents. As such, her influences were much limited, and she never was immersed into the rock culture of the 1970s that could have shaped her sound for better or worse. However she is brilliant, and very feminine - which is why her early albums are so stunning in contrast to everything else. They are subtle works, but totally divine once you allow the music to marinate. Drive-by listeners scoff at her greatness, because they don't hear the expected razzle dazzle - or a comfortable, overly familiar sound. So they scream overrated, presuming it's nothing but collector hype to raise the profit level - which only reflects back on their own ignorance of the situation at hand.

This beautiful isolation and innocence that Thibault possesses, continues to be projected throughout Les Soleils de la Vie. Today, she makes music for disadvantaged children in need. I couldn't think of anyone better suited for the task.

The biggest gripe I have about this album is the unfortunate mid 80s remix, which sounds every bit of its era. That plastic, hollow sound that dominated the times is so very evident here. Still the music shines through despite the obvious challenge. I would love to hear what the original sounded like, before Decca insisted on a remix. I would buy it again, if this version does surface.

Contrary to what was generally thought by collectors in the 90s / 00s, this is an archival recording never released prior.

Ownership: 2016 Lion Productions (CD). Historical liner notes and 6 bonus tracks from the 80s and 90s. Acquired in 2017.

4/4/17 (review)

Evening Colours (1975)

After the stunning Galaxies, Ms. Thibault comes back with Evening Colours, which can only be categorized as a triumph of will. The same beauty she brought forth on her debut, is also present here, perhaps with a bit more instrumental oomph. However, there are no song based tracks with lyrics (though plenty of wordless voices). Despite finding its way onto the Italian CAM label, Evening Colours is no film library album. These are fully realized compositions with wonderful analog keyboards, fuzz guitar, bass, and drums. As we learn via the excellent Lion CD (2013), Jacqueline originally was presented as the artist "Gateway", so as to not reduce sales, since the norm of the day was that only male artists were to be treated with respect in the marketplace. This album, intended to be issued on the Galloway label, ended up as a very small press and is extremely rare nowadays. The more common aforementioned CAM issue happened via a friend and ensured everyone was compensated for their efforts.

Hearing this album once again reaffirms my position that females are far too unrepresented in progressive rock circles. Their inherent knack for melody and subtlety is much needed in this most testosterone fueled genre, where technical show-off chops are often placed in favor of thoughtful composition and form. Unfortunately even today, females continue to be stage singers, directed behind the curtain by those looking to profit from their talent (of course I mean in general, not progressive rock. Nobody makes money in progressive rock.). Hear the defiant and fiercely independent Jacqueline Thibault - compare - and judge for yourself. Brilliant and beautiful.

Ownership: 

2013 Lion Productions (CD). Papersleeve. Gatefold. With historical liner notes. Acquired in 2013.

2014 Lion Productions (LP). Gatefold. With historical liner notes. Acquired in 2014.

7/23/07; 3/2/14 (review)

Galaxies (1974)

Laurence Vanay is the pseudonym for Jacqueline Thibault, wife of famed French music producer and musician Laurent Thibault. This album is pure genius. Stunning organ, flute, and acoustic / electric guitar are the instrumental ingredients. Even a little Zeuhl bass to knock things around. And here on Galaxies, she provides both wordless, and occasionally sings lyrics, in that soft, seductive female manner - all in beautiful French of course. Near perfect.

I first came across the name of Laurence Vanay (later revealed to be Jacqueline Thibault) via the rare LP European catalogs in the early to mid 1990s. It was almost mythical in stature, somewhat like the Horrific Child we covered recently. It seemed I would never hear it. Then in 2007 I finally obtained a cdr, and loved it instantly. (The base of my brief notes below were written then, and were also included in the advertisement for the reissues). The album was screaming for a reissue - especially given that it had recently hit the underground internet trading market, and the demand was building quickly. At the time, there was talk of the album being reissued on LP (but not CD) from some new upstart in California (who knows why no French label had stepped up on these titles). During that period I was also in touch with Ms. Thibault and her biographer Cedric. After the LP deal fizzled, they contacted Lion, and the rest is history as they say. 

Ownership: 

2013 Lion Productions (CD). Gatefold papersleeve. Gatefold. Features 9 bonus tracks, that are excellent in musical quality, and complement the album well. Acquired in 2013.

2014 Lion Productions (LP). Gatefold. Historical liner notes. No bonus tracks. Acquired in 2014.

7/23/07 (review); 1/18/14 (update)

Also own: La Petite Fenetre

1/18/14 (new entry)

Providence - And I'll Recite an Old Myth From... 1990 Japan

For years, I used to joke that Providence were the Night Ranger* of Japanese prog. It was always meant to be a lighthearted stab, an innocuous crack aimed at the good-natured prog fan (if such a creature really exists). Of course, humor works best when there's a hint of truth in it... I mean it's not like Night Ranger went on long instrumental flights of fancy. Nor did they employ a mellotron (fake as it may be) as a key sound device. But you know, there are times when they remind me of....

There are four components that will catch your ear when listening to Providence's debut. One is the powerful female vocals of Yõko Kubota, who defiantly sings in Japanese in the same manner as any number of these girls on the TV vocal contest shows would. Second is the bass playing of Yasuyuki Hirose, who puts in a monster performance. And he obtained that perfect woody bass sound like Chris Squire would do in his prime. Third is the synthesizers, sounding every bit of an early to mid 80s power AOR band (...it's the final countdown....). And finally is the superb production. Hard to imagine a small private label album from Japan besting many of the major studios and labels of the time. Oh, and Christian Beya of the old 70s French band Atoll joins on guitar, and he's rockin' out! Overall, there are long stretches of high energy progressive rock here to enjoy. But be prepared for some MTV styled power pop too. Maybe Yõko looks cute in leather pants?

* I just noticed Night Ranger are still around! Now that's the ultimate example that begs the question: What's the point? One would presume they're not trying to preserve their artistic legacy. rofl.

Personal collection
LP: 1990 BSP
CD: 1994 Nexus

I bought this on LP not long after it was released in 1990 and still own that copy. It comes in a very nice poster cover, with a booklet. High production all the way, as mentioned in the review proper. This is one of the rare LPs from Japan that wasn't released with an obi, as it appears it was made for export (despite the lyrics being sung in Japanese). Ironically it's also one of the few Japanese albums that was never reissued outside of Japan. Strange. I never felt compelled to own this on CD, but just within the last month, I did secure one on the cheap (1994 Nexus). That was the impetus for this listen. Interesting to note that the CD reissue (with different cover - 3rd scan) misspells the title "...On Old Myth From"

Happy the Man - Crafty Hands. 1978 USA-Washington D.C.

In 1978, every American band on a major label were looking for their next - or first - radio hit. Not Happy the Man. In fact, Crafty Hands is even less commercial than the debut. Of course the conclusion to such antics was predictable, and they were booted off the roster over a "three martini lunch" as the band recalls. At least they went off in style.

Though the album is arguably more progressive oriented, that doesn't necessarily translate to better in my book. But the debut is a high bar to hurdle, and I'm afraid they ran right into it. There are once again three types of music to be found here. One is a majestic, classically oriented symphonic sound, with occasional Asian scales interspersed. Like a cross between The Enid and mid 70s era Jade Warrior. You'll hear this sound on the opening two tracks, the closer, and 'Open Book'. Then there's the twisted, technically oriented prog rock as found on the debut, and these are represented by 'Ibby It Is', 'Steaming Pipes', and 'I Forgot to Push It'. Which leaves the odd track out. It's the only one with vocals this time, and an unusual sound for Happy the Man. 'Wind Up Doll Day Wind' takes a page of out of the Trick of the Tail playbook, and infuses it with a modern energy and instrumentation. By God if Happy the Man didn't predict the neo prog movement by four years or so. Not something I'd ever associated HTM with before, but a close listen revealed something new.

In the end, a very good album. Borderline 3.5 to 4 stars. Going with the latter, figuring one good craft(y) beer will take it a half star further anyways.

Ownership: LP: 1978 Arista. Single sleeve. Purchased from a friend in 2014. My first copy goes back to finding at a record store in Ft. Wayne, Indiana way back in 1992. It had the usual cut corner (my current copy finally does not), and I sold it when the first Japanese CDs came out. At one point I had four copies of this album - this LP and three different CDs: The original Japanese, the Japanese mini, and the Esoteric version. The latter had excellent documentation but terrible sound. The other two sounded fine but no documentation (in English that is). So the winner and champion is? The original LP. Ha. The rest are sold off.

9/23/92; 10/14/16; 4/7/17 (new entry)

Paradox - Collision Course. 2000 Germany

About 100 years ago - sometime in the early 90s - I had a chance to source Paradox's album Heresy on LP on the cheap. But I was "growing out of metal" and let it lay. So a century later or so, by pure chance, I ended up with the followup Collision. Released in that oh-so-not-thrash-metal year of 2000. And this mature (old? disposition?) corporate guy, has grown completely back into metal. I was never like the other children, that's for sure.

And for this album by Paradox? Well... quite the band name, eh? Just askin'.

Musically speaking, Paradox pretty much come up with a riff - and then another riff. And followed that with a.... c'mon guess?.... riff. For each song. Yea, the muddled timid Hetfield soundalike vocals kinda blow, but it's a small price to pay. Because thrash is all about riffs. And they are here. All over the place.

Personal collection
CD: 2000 AFM

Gift. 1972 Germany

"No doubt my rating on the debut is off too, but that's for another day..." was how I ended my review of Gift's second album Blue Apple, penned near the end of 2015. And that day has arrived, and the prophecy has been fulfilled. No surprise there.

Gift's debut is significantly different, though. They had yet to add an organist, and there are no progressive touches here. This is just straightforward, kick-yer-ass non-stop hard rock. The riffs are heavy by 1972 German standards, and the songwriting is solid throughout. There's an occasional flute to soften the mood, and provide some dynamics to this otherwise loud and rockin' album. Gift opens up with 'Drugs'. Well, that's table stakes ain't it? 'You'll Never Be Accepted' and 'Groupie' follows. An aural documentary of the times apparently. Of course the opener is anti-drugs, so it sort of blows my story, but one should admire the group standing up to, and against, the attitudes of the day.

Overall, I'd say Gift are less bluesy than Armaggedon, and more consistent than Dull Knife. I'd file the album next to Dies Irae and Haze if looking for direct comparisons.

Personal collection
CD: 1998 EastWest/Telefunken