Feliu i Joan Albert ~ Spain

Feliu i Joan Albert (1977)

Feliu i Joan Albert's sole collaboration puts together two classically trained musicians from Barcelona. Joan Albert Amargos was a current member of Musica Urbana, and played keyboards and woodwinds for them. Prior to that he'd guested on saxophone on the 1971 Jarka album. Feliu Gasull provides the Spanish guitar. For the majority of the album, the music is acoustic, beautiful, and serene, with a big sound and some unusual arrangements. One will hear references to George Gershwin's Rhapsody in Blue, no doubt an influence from their own formal training. There's also a feeling of what the original New Age movement was about, before the term was bastardized. Perhaps a bit like same era Popol Vuh, but without the overt spirituality. Closer 'Els Barbers Indignats' breaks out the electric rock instrumentation (with Musica Urbana in tow), and is quite jarring in this setting, and is a great way to end the album. Though one wonders what it could have been were it a pure play progressive rock album. The reissues to date have not yielded any other recordings, so it will have to be left to the imagination unfortunately.

Former ownership: 2004 PDI (CD). With booklet mainly consisting of photos. Acquired in 2005. Downsized in 2026.

4//05 (review); 4/13/18 (new entry); 4/24/24

Curtis Knight ~ USA

Down in the Village (1970)

Who is Curtis Knight you ask? Well he was a cohort of a one Jimi Hendrix before he became "Hendrix" if you know what I mean. So Jimi plays guitar and Curtis Knight sings is the way the late 60s soul albums were portrayed. And now 50 years later, few know who Knight was. Perhaps you've heard of the other guy?

And that's really too bad, as Down in the Village is quite an aural document. It's also one of those one song albums that will live on long past any of our lifetimes. In this case - as with most of the others I will mention - it has yet to be truly discovered. But even taking out said song, what we have here is a fine psych-blues-soul rock album from 1970. The title track is a good opening, but it's the potent 'Lena' that you will hear the mean psych streak that is an indicator of what to come. 'See No Evil' is another winning track. 'Goin Up the Road' is a decent blues rock song. The other 2 songs are throwaway soul numbers. Side 2 is much more consistent, with the final two tracks 'Hi Low' and 'Goodbye Cruel World' competing vigorously with 'Lena'. As a whole, this would be a 3.5 star album if it were not for...

...'Give You Plenty Lovin'' Oh my, what do we have here? The ultimate combination of freaked out psychedelic jamming with screams of madness, that's what. We are talking what Isaac Hayes and The Bar-Kays did with the face melting 'Do Your Thing'. Or when Del Jones goes deep into the abyss with 'Cold Turkey'. Or John L's pleas for help on 'Flowers Must Die'. We are talking goosebump inducing insanity of the highest order. It's hyper, intense, chaotic, and scary. I almost want to give this 4.5 because of it. I probably will one day. Maybe a proper reissue will unearth similar recordings... Oh we can dream can't we?

Ownership: 1970 Paramount (LP)

4/10/18 (review / new entry)

Cyklus ~ Germany

Planet of Two Suns (1979)

Don't let the goofy-guys-in-the-back-of-the-VW-bus-cover scare you. Cyklus' sole album presents an interesting mix of styles. On one hand there's the typical late 70s funky fusion, with the added benefit of a high melodic quotient. This is then juxtaposed against a backdrop of the early 70s Krautrock freaky underground. In aggregate one can wire Cyklus closest to same period Aera - who they share a band member and label with. This is especially true during the time when Embryo's Roman Bunka was also Aera's guitarist. I also hear a bit of the Real Ax Band and same era Alcatraz, which can only be considered a good thing. There's some nice shredding guitar work here as well, which recalls Syncrisis (yet another fine guitar centered Kraut Fusion act) at their most fiery.

Ownership: 1979 Erlkonig (LP)

Not been reissued legit on LP or CD as I update this post (2/22/25)

12/31/09 (first listen); 4/10/18 (review / new entry)

Goodthunder. 1972 USA-California

At its core, Los Angeles based Goodthunder are a straight up hard rock band, with folk and pop trimmings. If that's all they were about, then they certainly wouldn't be reviewed by me. No, Goodthunder weren't content to settle for lowest common denominator music to strictly appeal to the masses. With a prominent keyboardist in the band, and a wide range of dynamics, time shifts, and colors - Goodthunder somehow managed to create a sophisticated hard rock album when no one was paying attention. And the guitar is pretty heavy for the era, including some nice riffing, in an almost proto-NWOBHM metal style. Not to mention the chunky Hammond organ moments (a bit like the Krautrock Message on their first 2 albums). There's even a bit of late 60s psych carrying over, as found in the vocal harmonies. The progressive breaks are - especially given the setting - quite surprising, and it's these kind of contrasts that makes this album work on a number of levels. In some ways, you could almost compare Goodthunder to what Culpeper's Orchard were doing in Denmark. They never quite reach those highs (and who does really?), but it's definitely in that ballpark. 'P.O.W.' and 'Barking at the Ants' are right near the top of the mountain. Get it.

Personal collection
LP: 1972 Elektra

Originals are housed in a single sleeve and come with a lyric insert. There is also a CD reissue on Wounded Bird (2009) that I might pick up eventually.

Originally reviewed: June 2014

Chasar ~ Scotland

Chasar / Gypsy Roller (1983)

Yes, this. This is exactly the type of NWOBHM music I'm looking for. Ambitious, yet amateurish. A clear product of the early 80s cassette culture. Some lads from Scotland get together in a room, listen to Rush's Permanent Waves, and decide on the spot to create a band in the spirit of Iron Maiden, Saxon, et al, but with a bit more creativity and free flow of ideas. 

Perhaps a label like Neat took a sniff, but couldn't comprehend the complexity of the music, and politely declined (in the vernacular "No fookin' way you bloody wankers"). And so the band went about releasing it on cassette, where it made a name for itself among the trading set of the day. This was then picked up by the confusingly named UK based American Phonograph for LP - except they had no metal history, and less distribution skills. Finally, now four years later, the ultimate bottom feeder Mausoleum decides to release it, but with a new cover and title (Gypsy Roller). And then... off into the mists of obscurity it went. And has yet to be discovered 35 years later, awaiting a proper reissue of some kind - any kind.

As noted about the music above, it definitely wears its Rush patch proudly, as well as adding some metal crunch. Nothing too heavy mind you, and there's plenty of guitar solos in the 70s hard rock tradition. One can hear the same embryonic steps that Manilla Road were taking at a similar time, different place. Another reference would be the obscure Florida based group UHF. Easy recommendation for those predisposed to these kind of sounds. And we know who we are - don't we?

Ownership: 1987 Mausoleum (LP) 

Not reissued as I update this post (9/15/25)

4/10/18 (review / new entry)

Light of Darkness. 1971 Scotland

Light of Darkness were Scottish exiles enjoying the Germany hard rock scene of 1971. Black Sabbath's debut is the first reference that comes to mind (blues based heavy fuzz guitar w/harmonica), and the vocals have a passing resemblance to Ozzy - check out 'Ain't No Place Where I Belong' as one prime example. But with a bit more energy, perhaps recalling Elias Hulk in the process. There's definitely a late era psych vibe here too, especially in the melodic/harmonic aspect of each composition. The album was not well received upon release, and thus its rarity today. But a revisionist look displays many rewards for fans of the 1971 Krautrock and UK Vertigo sound.

Personal collection
LP: 2014 Long Hair (Germany)

A rare album in original form (on Philips). The reissue comes in a fine gatefold (like the original) with a short history insert. It appears the two CD reissues on Second Battle have become difficult to source.

Andre Fertier / Clivage ~ France

Mixtus Orbis (1978)

The intimate nature of Fertier's Indo Jazz album Regina Astris is expounded upon here on Mixtus Orbis with no less than a full orchestra. The jazz elements are downplayed somewhat, and flute takes center stage, along with the Indian instrumental accompaniment. Some of this album gets very trippy, with echoed vocals and orchestras coming at you from speaker to speaker. There really is no other album like it, which makes it almost impossible to classify. In general, I typically find albums like this satisfying on an academic level, but not emotional. Mixtus Orbis is exceptional in that it resonates at core instincts. Really excellent material here.

Ownership: 1978 Gratte-Ciel (LP)

1/27/14 (first listen); 4/10/18 (review)

Clivage (1977)

Clivage is Andre Fertier's debut album. Here you will discover a very fine Indo Jazz album. Long spells of both Indian ragas (hand percussion and stringed instruments) and pure jazz with extended saxophone soloing, along with stand up bass. The copious violin use recalls L. Subramanian's works in a similar jazz setting. While I enjoyed Fertier's sophomore effort Mixtus Orbis a bit more, I do find the debut to be one of the better albums in the style it emulates.

Concerning the title - Regina Astris is a later appellation that was applied to the reissue after Mixtus Orbis had been released. Technically this is not a Clivage album, but rather it was released as a solo under Fertier's name.

Ownership: 1977 Gratte-Ciel (LP)

1/25/14 (first listen); 1/4/18 (review)

No legit reissues exist for either as I update this post (2/22/25)

1/4/18 (new entry)

Xhol - Hau-RUK. 1971 Germany

Here we find Xhol, as my imagination will have it mind you, in some smoky club in Hamburg, preferably on the Reeperbahn in the St. Pauli District. Organ and electric sax rule the roost here and no one gets to leave the club until they start seeing inanimate objects move. Psychedelic jazz blues is where it's at - especially on the sublime 'Breit'. The Garden of Delights CD is the way to go here since it introduces us to the 20 minute bonus track 'Suden twi Westen'. This track was recorded in 1974 with Hansi Fisher (of Embryo) on flute along with future Missus Beastly bassist Norman Domling. It's quite possibly the best piece Xhol ever did (and that's saying something!) and I didn't realize that Xhol were still active this late in the game. Highly recommended.

Personal collection
CD: 2002 Garden of Delights
LP: 1971 Ohr

I did once own the original LP, but traded it away for something presumably better. What that was, I cannot say. I want it back.

RUK really is an acronym, and stands for Rolf-Ulrich Kaiser. Obvious now, isn't it?

Originally reviewed: August 2005

Rob Thomsett Group - Hara. 1976 Australia

Rob Thomsett is, by most measures, an ordinary citizen. He was in the military and had a successful career working for the Australian federal government. And he also happens to be quite the talented guitarist - with an enormous imagination and creativity rarely seen even among the more avant garde oriented populace. He'd played in a couple of progressive oriented bands prior (Astral Plane and Oak), neither of which lasted long and there's no recorded history. Living in the relatively isolated government town of Canberra, there was no "scene" to which to attach to, or clubs to express one's new artistic vision. So Thomsett looked inward toward the Aboriginal legends and myths. With that, he created one of those 6th Dimension type recordings we talk about often here - for more on that release see here.

Hara is the followup album, and demonstrates Thomsett moving toward a more professional type sound. Ostensibly a jazz fusion album, it still hasn't lost the magic touch that Yaraandoo had, and tracks like 'It Might Have Been - it Will Be!" and the title song would have fit perfectly on its predecessor. In other places an acoustic otherworldly vibe is brought forth. On its own accord, Hara is excellent, though it will always pale in comparison to Thomsett's master work. Well worth pursuing, especially since you can own the whole album along with the aforementioned Yaraandoo (see below).

Personal collection
CD: 2017 Now-Again (w/Yaraandoo)

Was released on LP+CD, or just the CD by itself (which is what I own - since I already had the LP reissue on Roundtable of Yaraandoo). According to the liner notes of the CD, Hara was released in 1976.

For Example - SWF Session 1973/Cancelled 1972. 1973 Germany (archival)

In the wake of the massive success of Chicago and Blood Sweat & Tears, Germany was one of many countries to experience an explosion of horn rock bands. Round House, Emergency, and Creative Rock are a few that leap to mind. For Example was one of those brass rock bands that came from this scene, but never managed an official LP release.

Now this is one very confusing CD issue, I will tell you that. And the liner notes do little to clear things up, though the history itself is well told. But the recordings themselves are not explained well. First of all, the "Cancelled 1972" part means nothing more than there aren't any recordings here from 1972. Supposedly they were shopping for major label support for an entire year, but failed. Only a passing mention of this is told in the liner notes, and is later fleshed out in the advert for this CD release.

The first 3 tracks are the clear highlight here, and are the only ones that are truly the "SWF Session 1973" - adding to the confusion. These 3 tracks are like the best of Chicago with ripping Terry Kath like leads and complex horn charts. After a short piano ditty, tracks 5 through 12 are the real head scratcher. The credits say it was recorded at the "Horst Jankowski Studio Stuttgart" sometime in 1973 - but it's clear to be a live recording. And the audience reaction is either ridiculously over-exuberant, or it's been piped in as a phony. Now as a former high school stage/jazz band performer, I can say that the student body would often react in an overly positive way to show support (especially since we were recorded live on radio). But it doesn't sound anything like an audience at a club show, for example (no pun intended). As well, the style of music is noticeably different from the first 3 tracks. It's still horn rock, but at the other end of the spectrum. Rather than jazzy, complex brass rock, we have here a soul based pop rock with horns... ...with a fake audience. Track 13 is labeled as coming from a radio show, but it sounds like a similar live recording to tracks 5 - 12, but musically is a bit closer to the first 3 songs.

CD: 2010 Long Hair

Pig Newton & The Wizards From Kansas - Still In Kansas. 1969 USA (archival)

Still in Kansas is an interesting archival album from The Wizards From Kansas. Originally released by Rockadelic (and the version I'm listening to now) with band participation. The lion's share of the album contains essentially early versions of tracks (1969) found on their 1970 Mercury album. Though I own that album on CD, I'm not overly familiar with it, and I didn't do a back to back to hear the difference between them. Given their individual short duration, I wouldn't expect anything revelatory here. The other 3 tracks were recorded elsewhere reputedly in 1968 and 1969 with 'Clouds of Exchange' apparently being their lead-in demo song that landed them some marquee gigs. Again, more interesting than exciting.

The LP comes with 2 inserts, one a history of the band, and a second features photocopied newspaper articles and advertisements. For those that don't know: Pig Newton isn't a person, but rather it was the original name of the band. When they toured, they became known as Pig Newton & The Wizards From Kansas. Mercury dropped the Pig Newton appellation later. Even more interesting, to me at least, is that when they played live at Fillmore East in New York, they simply went by Kansas. How history could have been altered had they maintained any notoriety with that moniker!

If you're looking to hear these songs on CD, the legal reissue by Sunbeam in 2012 features them as bonus tracks, which is really what they should be (there's also a 2 LP set from the label). There are discrepancies in the dates, and the Sunbeam issue states the "early album" recordings are also from 1970, whereas the earliest date is 1969 rather than '68.

So a fine package if you already own the the primary album on LP, and would like the "bonus" tracks separate.

LP: 2003 Rockadelic

The Blue Bus - Your Mind's Moving Too Fast. 2001? Germany? (archival)

Honestly my BS Meter is in the red zone on this title (perhaps I should make this an iPhone app?) by The Blue Bus. I find it somewhat hard to swallow that a full LP's worth of tracks from the 60s has absolutely ZERO corroboration anywhere (including looking up band members). The album was released in 2001, by a German label with no other releases (and allegedly from the US if RYM is to be believed - but I think that is wrong (see below)), but there's no backstory of the band provided. Just a faded photo (how quaint...) of 3 dudes (not convincingly authentic 60s looking to be honest) sitting in a suburban backyard, presumably in southern California (why is anyone assuming this from Los Angeles anyway? Where exactly does that come from?). And then a German label comes along and suddenly has access to these tapes? But no story to tell? And now it's 17 years after the LP has been released, and yet nothing has emerged. Not buying it....

OK, so if having the wool pulled over your eyes isn't a problem for you, what of the music? Well, I have to agree with other reviews I've read, it sure the heck does sound like 1960s garage psych music (so kudos for that). Whoever is behind these tapes is where the real story is. I'm much interested in the provenance for certain (see below for my guess). "The Blue Bus from Los Angeles" - probably not that.

There is a website for  the label on the LP: www.vinyl.de  Go there and you tell me what you find?

This album is BS to the core.

I think here's the real story:
https://www.discogs.com/artist/1699280-Harry-Vee-2
https://www.discogs.com/artist/647901-The-Broken-Jug

LP: 2001 Vee (Germany)

Circus 2000 - An Escape From a Box. 1972 Italy

An Escape From a Box is one of the more misunderstood albums from the Italian progressive rock scene. Mainly because it has nothing in common with what one expects from the land of PFM or Banco. Circus 2000 are the European extract of prime Jefferson Airplane, but with a distinct progressive rock element similar to Julian's Treatment, Mad Curry, or Sandrose. Escape From a Box is one of the most creative albums from this niche. Laid back, sensuous, hypnotic, and mesmerizing. Resident hottie Silvana Aliotta provides the sultry, and witchy-squeaky (trademark pending) vocals. Hippy dippy opener 'Hey Man' is the only slip up, and even most of that tune works well once the instrumental engine starts to roar. 'You Aren't Listening' is seductive, 'Our Father' has intense Gothic choirs, and 'When the Sun Refuses to Shine' draws you into the vortex of another universe. Brilliante.

Ownership: CD: 2023 Grapefruit. 2xCD box set titled I Am the Witch. Also includes the full album of their debut and the Boxing Circus archival EP. Comes with a full history and plenty of photos and scans.

LP: 1999 Akarma. Gatefold. Acquired at Amoeba Records in San Francisco (2000). Neat cover art. As such, it sits high on my wall of albums. Otherwise I probably wouldn't keep it. Originals are impossibly expensive, so this will have to do.

Former ownership: CD: 1989 Vinyl Magic. Jewel case. This was my introduction to the album and stayed in the collection for 35 years until now (2024). 

1989 (first listen); 1996; 2000; 3/20/07 (review); 4/9/18 (update / new entry); 7/25/24

El Templo del Dinero ~ Mexico

El Templo del Dinero (1999)

As I've written about in the past, Smogless was a Mexican label in the late 90s something akin to the Kosmische Kouriers or Prescription Drug (UK), with a blend of bands celebrating the psychedelic underground. El Templo del Dinero was but one of these ensembles, likely collected for this recording rather than as a touring concern. The participants are an unusual lot for a recording such as this. Guitarist Victor Mendez had played in a couple of oddball bands from the early 90s - one was the unhinged Zeuhl group Vector Escoplo and the other was the arty Subsuelo. Neither very good to be honest. Drummer Victor Baldovinos comes from the decidedly symphonic group Iconoclasta. Newcomer bassist Alfredo Landa fills out the trio.

Based on this lineup, one wouldn't normally expect an homage to early Guru Guru and Sensations Fix, but more or less that's what we're dealing with here. Instrumental psychedelic space rock is the order of the day. The sound is raw and very much a product of the deep underground. El Templo del Dinero were hardly alone doing this kind of music in Mexico at this time, and one will hear similarities to Humus, Loch Ness, and Frolic Froth. The guitars are wonderfully compressed and super fuzzed out, and the rhythm section moves around constantly. Sometimes in sync, sometimes not - which is part of the allure. But it's definitely a competent work by experienced musicians. I've seen references to this being a jazz fusion type album, but I cannot hear it myself. No more than Guru Guru's UFO being considered such. Another reference would be the obscure Chicago based band Matter.

El Templo del Dinero is another one of those CDs I bought real time, enjoyed, and filed. Here we are 19 years later on a revisit, and I had very little music memory of it - only that it was in the Humus vein. I can understand this album being a bit too raw for some, but it's not in the wear-you-out genre like the Japanese groups such as Acid Mothers Temple can be. I enjoyed it myself, and hopefully will hear it again sooner than 19 years. Hopefully I can still hear at all by then.

Ownership: 1999 Smogless (CD). With art booklet. Acquired in 1999.

1999; 6/7/17; 3/23/18 (review / new entry); 1/30/24

Curt Cress Clan - CCC. 1975 Germany

Curt Cress Clan had one album released smack dab in the middle of the funky fusion era, and this album falls right in lockstep with expectation. Starts with a barnburner in 'Cyclone', and 'Fields' is wonderfully moody. 'Movin Right Along' also kicks a fair amount of booty. Despite the somewhat trite composition style, all is not lost, as it contains exceptional performances from Volker Kriegel (who obtains a wonderful fuzz guitar tone throughout); Kristian Schultze on keyboards (and yet again the fat analog synth tones are great here); and of course Cress himself on the drum kit, who gets in a few great patterns. One to buy if a fan of Kraut Fusion.

Ownership: LP: 1975 Atlantic. Single sleeve. Online acquisition (2014).

Former ownership: CD: 2010 Sireena. Digipak with liner notes in German and English. 

2009; 7/29/11; 2/18/18 (new entry)

2009; 2011; 2/18/18 (new entry); 7/4/22 

Schnauser ~ England

Protein for Everyone (2014)

My big fear coming into Protein for Everyone, my first encounter with Schnauser, is that there would be traces of indie / alternative music. Not that I read this anywhere, but instinctively the younger bands have it in their DNA due to constant exposure, different than my own generation. I can't stand that music myself. The monotone sound and nihilistic outlook goes against my very optimistic and creative nature. Give me a pissed off metal band any day - at least they care enough to be mad!

So with that out of the way - Schnauser have succeeded entirely on not dragging that element into their sound. Hooray! This is square-on psychedelic era Canterbury music, of the kind that didn't get past 1971. The soft affected vocals, the period instrumentation (especially the keyboards and fuzz bass), and the melodies are all extremely well done. It doesn't quite have the depth of the masters, and one does begin to think that if Stereolab had emulated Soft Machine or Caravan, rather than French 60s pop and Neu!, this would have been the result. That would have been great actually, now that I think about it.

The first four tracks are the highlight, and it begins to slowly break down from there. On first glance, 'Disposable Outcomes' appears this will be Schnauser's 'Nine Feet Underground' or 'Esther's Nose Job'. Alas it isn't, primarily because the band opted out of giving us some fuzz keyboard jam moments, and instead offers some weird story. That's really too bad, because there are moments throughout where I thought this would be a 5 star masterpiece. So in the end, it lived up to its title. On that note, this is one of the very few albums where a Gnosis 11 could be considered a disappointment. All the ingredients are here (they go so far as to define the band makeup in the CD literally as ingredients!) and they succeed, but I feel they did not transcend the genre, when you instinctively know they have the ability to do so. Still - this is a must own if you enjoy the early Canterbury movement.

Ownership: 2014 Esoteric Antenna (CD). Acquired in 2018.

2/18/18 (review / new entry)

Leviathan - The Legendary Lost Elektra Album. 1969 England (archival)

Leviathan were an English band from the late 60s with quite a backstory and a decidedly sad ending. Rechristened from the more mod sounding Mike Stuart Span, Leviathan were like many bands of the era, who were moving from catchy pop oriented singles into more heady album material. Oddly the band's demise appears to have come from a confusing promotion wherein Elektra decided to issue 2 singles at once, and both failed to chart. The first two tracks on this album represent the better of the singles, and demonstrates why Leviathan should have been a force on the psychedelic / upcoming progressive rock scene. Fantastic guitar leads, psychedelic infused vocals, and solid melodies are the name of the game with Leviathan. The other single contained 'The War Machine' and 'Time', and were both a bit dated for the cutting edge 1969 mindset, though still quite good. My pick for the best track is 'Through the Looking Glass', which is that rare breed of true "psych prog" as one might hear on the Pussy Plays album for example.

In any event, the album was pulled by the label president, for reasons that are still not clearly understood. It is suggested that the band still needed to improve on the album, but funding was going to have to come from within if the album wanted to see the light of day. This of course was not possible, and the band disintegrated on the spot. As noted by the title, the album indeed had gained legendary status via the record buying community going back to the 1980s. It took almost 50 years in total, but finally we can all hear this most promising group. It's bitter sweet though, as we'll never know the what-if scenario.

Personal collection
CD: 2016 Grapefruit / Cherrry Red

Namaz - 300 M.P.H. 1981 Germany

For Namaz's debut, try to imagine Embryo circa Bad Heads and Bad Cats, or the Real Ax Band - but carrying on into 1981. Tropical and breezy Kraut styled fusion with sultry female vocals are the order of the day here. Final track 'Cyklus III' goes into freaky Santana guitar mode to close in excellent fashion. A fine album for fans of the genre.

Personal collection
CD: 2008 Creole Stream (Japan)

Mystere de Notre Dame. 1996 Italy

Mystere de Notre Dame were like many bands of the mid 90s, and definitely engaged in a bit of Dream Theater worship. The chops weren't quite there, and the professionalism was B grade, but no doubt competent all the same. For the first 3 tracks, you will admire Mystere de Notre Dame, but a bit of deja-vu will come about soon enough, Then comes 'Dominus', and it's still Dream Theater - as found in the Twilight Zone. It's not on-purpose attention grabbing either, but rather a tad off-center. In this way Mystere de Notre Dame reminds me of those nutty German bands of the same era like Payne's Gray and Cant. It's as if the band knew they were sleepwalking, and needed to do something else - but weren't quite sure what to do. Was it their Italian heritage? Perhaps Semiramis was on their mind... By no means is this radical in the same way as fellow countrymen Garden Wall are, it's just...different. The album has received relatively low marks across the board on both RYM and Gnosis, and I figure it's because of the typical Dream Theater association, and the first 3 tracks don't help. But a deeper dive reveals something more. I wondered why I kept this CD all these years, and now I know. And I will continue to do so.

Ownership: CD: 1996 Music is Intelligence. Jewel case. Purchased new online upon release.

Yves Laferrière - s/t. 1978 Canada

If viewing this record for the first time, one could be forgiven for marrying the album cover with the 1978 date, and coming to the conclusion this is yet another period fusion album. But that's not the case at all. Yves Laferrière was one of the primary songwriters on both of the Contraction albums, and on his one solo album, he has successfully recreated the past. This sounds every bit like an early 70s Quebecois progressive rock work, and could easily be considered the 3rd Contraction album. The same style of songwriting and the beautiful female vocals are just 2 of the components that make this comparison obvious. All the songs are relatively compact (save the more lengthy and raucous closer), and there are no obvious standout moments - and yet each and every track fits "just so". If you're a fan of Contraction, you'll want this.

Personal collection

CD: 2006 ProgQuebec