September - various singles. 1970-1971 Netherlands

1970's 'Little Sister' is more rough and ready than the band's two 1971 singles, and offer at least a hint that the group that would become Cargo - and that they were hard rockers at heart after all. 'Walk on By' is definitely an inventive hard psychedelic version of one of Bacharach's best compositions. I kind of wish they'd flown in Dionne Warwick to sing on it though. Wow, now that would've been awesome. Anyway - easily September's best single.

'Yelly Rose' is a Beatles-esque pop psych number that offers no hints at all that the band would eventually become the hard rocking Cargo. 'If Mr. Right Comes Along' is an intriguing psychedelic instrumental, with a fine fuzz guitar lead, and sharp organ playing - an instrument the group would abandon for their future.

Hard to believe only one short year later, the band evolved into Cargo - and promptly released one of the all-time great hard rock jam albums. Though the lead guitar here does give hints of things to come, but mostly this is song oriented straightforward rock.

Ownership: CD: 1993 Pseudonym. All of the September singles can be found as bonus tracks on the above CD for Cargo (1972).

10/12/18 (new entry)

Peacepipe - Jon Uzonyi's Peacepipe. 1970 USA

Peacepipe were a psychedelic band from the Los Angeles area, operating mostly in the late 60s (they would also take on the name The Human Equation). Dates are fuzzy, but it's generally accepted that their sole released work - a 45 single - was released in 1968 (though no date is affixed) and these archival tapes were recorded for posterity "a couple of years later". Judging by the photos contained within the CD reissue, and the sound of the instruments, I could buy that 1970 is the recording year.

The sound of Peacepipe is primarily of the heavy psych variety. A loud fuzzy guitar dominates, with organ (a Crumar maybe?) and piano accompaniment, and Uzonyi's baritone vocals (no idea where the Elvis comparisons are coming from - mostly you'll hear his voice in the same range as Morrison and Ingle, but not exactly the same - it's very much the American male voice of the late 60s). The songs are rich, dense, and sometimes downright psychotic. Highlights include the strong opener 'Sea of Nightmares', the proggy 'I Can Never Take Your Dreams Away', and the psychedelic dual rompers 'A Bikers Tune' and 'Open Your Mind'. 'Angel of Love' ups the ante further with a killer guitar sound and riff, something akin to Led Zeppelin II, and is a superior hard rock track. The gem of the album has to be 'The Day the War Ended', a track built on their single 'The Sun Won't Shine Forever', and features the type of metal riff one would find on an NWOBHM album 10 years later. The intense vocals and multiple themes and sections recall anyone from Music Emporium to Micah, with a dollop of primo Iron Butterfly. Brilliant.

Overall a must own artifact from the Southern Californian psych scene.

Personal collection
CD: 2002 Shadoks (Germany)

I first heard this album in 2008, and the CD (second scan) was scarce even then (and the Rockadelic LP even rarer (first scan)). Finally I was able to source a decent priced copy 11 years later. The CD includes liner notes (interesting, but not historically detailed), photos (mostly from one show it appears), and 2 bonus tracks, which is the 45 (and not to be missed!).

Peacepipe - The Sun Won't Shine Forever / Lazy River Blues. 1968 USA-California

Peacepipe's only released work during the band's lifetime, is one of those can't miss 45's for fans of inventive psychedelia. 'The Sun Won't Shine Forever' is stunning, with wah wah guitar, a killer riff, and psychotic vocals. One only wishes the track went on for more than 2 and a half minutes. Though the good news is that the main theme was expanded upon on their archival LP/CD release, and retitled 'The Day the War Has Ended'. 'Lazy River Blues' is just that - if it were stripped down to its bare essence. However on here it's completely psyched out beyond recognition, and is also quite good.

Ownership: CD: 2002 Shadoks (Germany). These are bonus tracks to the original Rockadelic archival release. There's no date on the 45 itself. 1968 is the generally accepted date, though Discogs places 1969 - but without any corroborating evidence to support.

10/12/18 (new entry)

Sun - S.U.N. 1980 Germany

Sun are a band from southwest Germany near Mannheim, who had a heritage going back to the mid 60s. In 1974, they managed to record two excellent lengthy tracks for the Proton 1 compilation put together by Kerston Records, and then disappeared again. Until 1980, when they finally released this one very private album, where no money was left for artwork, and that was hand glued together by the band themselves. Maybe not the most economically successful of German bands at that time, but musically speaking they were quite rich. In summary, it's ostensibly a jazz rock record, but with plenty of progressive and Krautrock elements.

The album opens up with the fiery 'Ohne Titte' (ouch), and we get to hear the fantastic lead guitar of Gunter Hubner. 'The Jester' is the most progressive oriented track, and the vocals - and overall style - recall that of Van der Graaf Generator. The next two 'Seeing Similaun' and 'On Holiday' are of the late 70s Kraut Fusion variety, and comparisons to Release Music Orchestra would not be out of place here. Further on, 'Neulich in Spanien' reminds me some of the Sunbirds when they too seemingly headed south to Spain for the winter. The final track 'Women's Lib Blues' (that's getting right to the matter isn't it?) is the only one here that recalls their Proton 1 days and I was reminded of early Nine Days Wonder as well. Overall a varied, but very satisfying album for fans of German underground jazz and rock.

The CD is the recommended way to go here, as in addition to the LP, one will receive no less than 6 bonus tracks, all essential. The first 2 are the aforementioned Proton 1 tracks (and which I reviewed on that entry). The next two come from the late 70s, where apparently the band has numerous tapes - mostly in tattered condition if I understand correctly - that was clearly a creative time for the band. And the last 2 are 1994 reworkings of earlier 70s tracks, and despite the late date, sound fresh as ever. One wishes they had gone on to record a full album at this time. Remarkably the band is still playing live as I pen this in late 2018. It would be wonderful to hear more archival material from this group - or perhaps even a new album!

Personal collection
CD: 2008 Garden of Delights

The original album - and this CD - are titled S.U.N., and yet it doesn't appear to be an acronym of any kind.

Skydog - Just Want to Make You Happy. 1974 USA-Georgia

Skydog were a band from the Atlanta area, and their sole album is a serious collector's rarity, custom pressed for family and friends. The music could be summarized as long form jamming, with plenty of compositional and tonal shifts, giving it a mild progressive rock flavor. Being from the south, Skydog naturally will draw comparisons to The Allman Brothers, and that's not entirely off the mark, especially when one considers the Allman's jazz background. However Skydog really do not have "southern tendencies", that is to say there are no country or folk influences here. Mostly the album falls in the hard rock category, with a blues base, something akin to South Carolina's J Teal Band. The production leaves much to be desired, but fortunately what does come through loud and clear is the awesome lead guitar, who solos wildly over the frantic rhythm guitar and superb drumming. The vocals are of the early 70s American soulful bluesy variety, giving off a whiff of lounge music, though the music is far different. Highlights include the opener 'Luck in Your Life' and the superb 'Ali Sahd', which despite its name, does not have a Middle Eastern feel. A very fine discovery for fans of arcane American hard rock.

Personal collection
CD: 2001 Red Lounge (Germany)

Germany is an odd place for this CD to be reissued (especially from a relatively unknown label), but it's definitely 100% legit. Comes in a wonderful hard bound 3 part digi-book with new artwork. There are full liners from the leader of the group. The band is clearly denoted as Skydog in these liners, though the original LP has it as Sky-Dog throughout. Apparently the CD has "cleaned" up the sound, which tells me the original LP must be really quite bad. The generic cover gives the game away on its custom provenance. Originals are incredibly scarce.  There are 4 bonus tracks on the CD, which are in worse condition than the album itself, but still listenable and worthy of bonus track status.

Nil - Nil Novo Sub Sole. 2005 France

Nil's last album (to date) is a very dense and complex prog rock. Though French and sung in the native tongue, their sound isn't distinctly of that region. The female vocals sound somewhat shrill like Henry Cow, but the music is not RIO/Avant prog, definitely more warm and lush than that - but still with an edge. You'll see many references to King Crimson, and that's a fair representation, especially if one were to cross Lizard with Red. There's a tremendous amount of ideas flowing through here, and most of it is instrumental. Excellent for repeated listens.

Ownership: CD: 2005 Unicorn (Canada). Recent online acquisition (2018).

10/12/18 (new entry)

Earthrise - s/t. 1977 USA

Earthrise were (are) an interesting band from New Jersey, who mix complex progressive rock and fusion seamlessly. In that way, they remind me of Minnesota's This Oneness. So the vocal sections do have this kind of "Midwest styled AOR progressive" sound that I've documented elsewhere on this site, and I find highly appealing. Earthrise doesn't qualify for the list simply due to the geography from which they hail. Instrumentally speaking, the compositions are very interesting, and many of their ideas are kinetic and creative (the organ and Moog progressions on top of complex rhythms specifically).

The new CD on the band's own ArcEden imprint shows considerable improvement in the sound department. It will never win any production awards, but it isn't as bad as the band's prior CD-R release. It's been too long since I heard the original LP to compare, but I suspect it's no better than the the CD-R.

Personal collection
CD: 2018 ArcEden
LP: 1978 Arceden

Other than the sound - which isn't great really, but OK - the CD has to be considered a disappointment. It comes with a single tray card and no information whatsoever. What a lost opportunity to tell their story and provide some unique photos while at it! And the fact they charge top $ for it is shameful - and they refuse to wholesale it to reputable dealers. One wonders why they even bothered really. Seems they did it to appease collectors like us, and at the same time a certain hidden punishment for asking for a professionally pressed CD, instead of the even more crappy CD-R. Fine. Let the historical record state that this is nothing more than an unprofessional, sloppy job. Hope you are proud of yourselves as I'm not a happy customer right now.

Original LPs have always been extremely scarce and expensive. This is due of course to what I would call "controlled supply". Via that supply channel, I had obtained 2 sealed ones back in my wheeling-dealing days of the mid 1990s, and promptly traded them off for albums I wanted more at the time. No regrets, as what I received in return is awesome, and I still own to this day. But I do wish I had an original all the same.

Black Sun Ensemble - Sky Pilot. 1999 USA

The 22+ minute title track is the only composition here that is representative of the name Sky Pilot, and that which was recorded in 1999. It's a fine piece, somewhat rambling, but still with that distinct desert neo-psych sound that Black Sun Ensemble are famous for. There's an enormous amount of clarinet on this piece, and that's an instrument I consider entirely unpsychedelic, and somewhat ruins the mood. Gives it a middle eastern restaurant buffet feel - with belly dancers roaming about. Overall it's good, but inessential. Apparently main man Jesus Acedo was on the mend at this point, and this was where his mind was at the time.

The next track, the 4 minute 'Staying Power' is apparently a single released in 1994, though I cannot find physical evidence such a thing exists. The style here hearkens back to their late 80s Lambent Flame days. Sort of an indie psych sound, one that I'm not too fond of.

So at this point, I'm figuring this one is going straight to the sell bin. All that's left is about 46 minutes of "bonus tracks". Well, that's weird from the get, but let's see what we have here.

Oh.... wow. If you ever wanted to hear the mid 80s Black Sun Ensemble "go for it", then here's your album. The deal here is this album was slated for release in 1994 as Psycho Master El, and the band name at this point was Black Sun Legion. Apparently this was one of those "the devil made me do it" albums, and Jesus Acedo - who was completely off his rocker by this point - destroyed all evidence of the recording as he was seeking enlightenment and atonement. Or he thought he did. It was released officially, but according to later notes, it wasn't properly mixed (and the vocals were removed if I understand correctly). So 5 years later, 12 of the 15 songs appear here, but this time they have the appropriate sound. I haven't heard the Black Sun Legion CD, so I cannot say myself.

What we have here is 12 seriously molten instrumental psychedelic tracks, that feature Acedo's distinct desert styled electric guitar, but this time with a ferocious violent intensity. With track names like 'Dangerous Pussy', 'Lord of the Fleas', and 'Children Look Like Burnt Paper' (whoa, that's f'ed up right there), you know Acedo is in a special place, deep - deep - in a Mexican cave and way O'd on mescaline.

For those calling this prog, you made a wrong turn in the hallway. This is modern psychedelia of the highest order. Start with track 3 and enjoy the ride...

Personal collection
CD: 1999 Camera Obscura (Australia)

Complete with full liner notes, which helped me piece the story above together.

Krokodil - An Invisible World Revealed. 1971 Switzerland

For about 30 years, I've struggled with this release, that which is Krokodil's 3rd album. From the first time I heard it, until last night, this is the one Krautrock album that everyone else liked, that I didn't (well, fellow Swiss band McChurch Soundroom would be another). Finally last night - age 54 - I enjoyed it. So what was the problem, and why is it suddenly resolved?

Let's be clear here, Krokodil was... prior to this album - and after this album - a blues rock band. I think it ruffled my feathers a bit to even refer to them as Krautrock, and when one listens to a track like 'Odyssey in OM', and the band is firing on all cylinders with a deep Indian raga groove, and then.... then... a harmonica starts blasting out. Aaaaaaaaaa. Yuk. Stop! The issue here isn't blues rock itself. My goodness, every hard rock band from the late 60s and early 70s worth a salt had a foundation in the blues. No, the issue here is the type of blues. We're talking old-timey railroad hard-a-times-a-comin' blues. Country blues. Not in my interest area I'm afraid.

What makes An Invisible World Revealed so interesting is the juxtaposition of styles, something that I've come to appreciate more in the last decade. This album really is freaked out Krautrock... as played in some rundown club near the West Virginia and Kentucky border - in 1926 - with of course a sitar, mellotron, and heavy phased out electric guitar and Dieter Dierks at the controls. Where the highlight of the week is watch the preacher go into convulsions for 4 hours on Sunday morning.

There really is no other album like An Invisible World Revealed. Not from Krokodil nor anyone else for that matter. It's actually a bit incompetent, which only adds to the grade. So yea, I get it now...

Personal collection
CD: 2010 Second Battle (Germany)

Legit repress of 1999 CD with tri-fold digipak and history in German and English. I need to add this version to Discogs as of this writing. It does still contain the 3 bonus tracks, which are more loose "West Coast" jams, and not really belonging to this album.  They are fine as bonus tracks, but no Krautrock here.

Deja-Vu - Baroque in the Future. 1988 Japan

It all starts here for keyboard wizard Motoi Sakuraba, the famed video game composer from Japan. His debut solo album Gikyokuonsou is among the very best progressive rock albums from the fertile late 80s and early 90s Japanese scene. Deja-Vu was his rock band before going solo, and with that comes the advantages and pitfalls of a group setting. In general I'm of the mind that the synchronicity of a group usually outweighs the monolithic viewpoint of the individual. But in this case, I have to say the band is something of an encumbrance. Sakuraba is the primary songwriter, and fortunately most of the album is made up of instrumental work. And here Deja-Vu shines, though some of the synth tones are a bit too much late 80s if you know what I mean. One of the best tracks is 'Byzantium', the only song Sakuraba ported over for his debut, and is instantly recognizable. The downside of the album is when the band goes for traditional songwriting. The vocals are weak, and the songs tend to plod without much direction. They appear to be nothing more than a distraction until we can get to another cool instrumental section. So put Deja-Vu somewhere in between Social Tension, Providence, Gerard, and Outer Limits. Very much a product of the late 80s Japanese progressive rock scene. The beautiful cover cinches it as a keeper, but this isn't the best place to start either.

LP: 1988 Made in Japan

This is one I bought real time, and I probably hadn't heard it in 20 years until now (like a lot of my collection unfortunately).

July 22, 2019 update: Sold LP

TOuCH ~ Germany

Traumwerk 1 (1980)

TOuCh's sole album is a nice example of Berlin School electronics mixed with rock elements, primarily in the form of real drums and flute. Not as dynamic as Klaus Schulze's Moondawn or Wolfgang Bock's Cycles, but some of the sequences are inventive and the album holds up well to modern ears. The group owns a large palette of keyboards, not uncommon for the genre, though it doesn't appear they took full advantage of the tones available to them, and the album could use some color. This is particularly true on the opening 'Gethsemane 1', which is a bit dull. Once the sequencers and drums kick in on part 2, the album gets more interesting. In fact, I'd argue each subsequent track is better than the prior. The group's name is an amalgamation of the two protagonist's "TOm und CHarly". 

Former ownership: 1980 Hand-Made (LP)

No CD or LP legit reissue exists as of 5/27/25.

5/14/03 (acquired); 3/17/10 (review); 9/28/18 (update / new entry)

Satan - s/t. 1975 France (archival)

Heaven Road were a band from western France, who had played with various famous UK progressive rock groups and sang in English. As the tide had turned regarding national pride, French had become de rigueur, and so it was suggested the band take a French name. Uhhh... the unfortunate name chosen could go either way, and certainly sends a different message than Heaven Road wouldn't you say? Whatever the case, the misnomer probably did the band no favors, as the music is hardly doomish heaviness, but rather square-on progressive rock - very much in the manner of other French bands operating at the time. The most obvious comparison to my ears is Atoll at the time of L'Araignee Mal, but certainly other bands creep into the picture such as Ange, Pulsar, Pentacle, and Memoriance. The music does possess a darker edge, and there are some really fine complex guitar/Moog runs here that are quite exciting. If there's an issue, it's pretty obvious the album isn't quite ready for prime time, and needed a bit of production work. But it's better than demo quality, and for those among us whose ears are used to a little grime, then it will be of no concern whatsoever. And considering the full package (see below), this moves into the must own category.

Every web source I can find places the album at 1975, however the back cover clearly states it was recorded in 1973*. I could believe either, though 1975 seems more in line with the style coming from France at this time.

* - OK, we now have definitive confirmation from the original owner of the tapes that it is indeed 1975.

LP: 2016 Monster Melodies

To date, this album has only been issued on LP. Monster Melodies, a record store from Paris, always does a first class job with their releases. The album is stored in a wonderful gatefold cover, and is pressed in appropriate blood red vinyl, and comes with a poster, a family tree booklet, and 3 inserts! The album sounds great - as far as the original production will allow. Finding their product cheap in the States isn't easy, but worth looking around - as deals await. If living in Europe, no need to hesitate here.

First Light ~ England

How The Land Lies (1985)

1985 is not the first year one thinks of for quality jazz fusion, and yet First Light is not one to overlook. There are many bands with this name, but the UK group as lead by Ronnie Johnson is the focus of today's review. The interesting thing about How The Land Lies is it really does sound like a product of the 80s, and yet it doesn't possess that cold, clinical slick-as-a-butter dish production we have come to expect from the era. This is a warm, yet complex type of fusion - borderline progressive rock - with a strong sense of melody throughout. Had this contained flute (it doesn't), for example, one could easily see this fitting into the early 80s French or Japanese instrumental progressive rock scenes (thinking Kenso here). It's Ronnie Johnson's guitar that is the star, and he never loses focus of the song, and there's almost no soloing or showboating here. A very good release coming from a time and place that is not expected.

Ownership: 1985 IOU (LP)

An obscure CD reissue exists, released in 1993.

9/21/18 (review / new entry)

Ra Can Row. 1982 USA-Ohio

Ra Can Row were a band from Cincinnati, lead by guitarist Don Schott. At the time of this recording - namely 1982 - almost no one was doing this kind of heavy psychedelic music. Perhaps only LS Bearforce in Germany, and even they had roots in a Guru Guru past. Ra Can Row actually predicted the UK Festival Psych scene by about 3 to 5 years, and could be considered a proto-Ozric Tentacles. This is a very well produced, yet unhinged driving instrumental psych music, with wild guitar solos, and relentless rhythms. The opening 16 minute+ 'Things Beyond Our Control' is the highlight, but all the tracks are satisfying on some level. Could of used a bit of editing and some more focus on songwriting, but for the time and place, Ra Can Row is quite extraordinary.

There are two distinct presses of the album, and the latter promises much better sound and precision. After many years, I finally compared the two copies back to back. Honestly I don't hear much difference. The second press is truly a re-mix, not anything unique. I think it's a bit more crisp overall, but not enough to warrant an upgrade or to keep both.

Ownership: LP: 1982 Eye. Single sleeve with a 4 page insert and a postcard.

My copy of the original has a red and white silk-screened Ra, but I've seen plenty that have a black and white one as well. All the second presses I've seen have the black and white paste-on.

7/24/09; 9/21/18 (new entry)

As far as reissues go, Don Schott was in touch with me in early 2014, via the CDRWL blog, to inform us that a reissue LP and CD were in the works. But obviously nothing has come of it to date.

Shadowfax - Watercourse Way. 1976 USA-Illinois

Shadowfax were a band from Chicago, who made a name for themselves on the New Age specialty label Windham Hill back in the 1980s and 90s. Watercourse Way is their debut from many years prior to that, and has very little in common with the sound that made them famous. Here Shadowfax is following the same footsteps as fellow Windy City denizens Streetdancer. That is to say, a band who studied Mahavishnu Orchestra's Inner Mounting Flame, and made a go of it. There are some ferocious instrumentals here (and one vocal) track, and fans of intense jazz rock/fusion are highly encouraged to pursue. There are two acoustic pieces, one a Medieval styled walk in the park ('Petite Aubade'). The other is the title track, an Asian styled piece similar to Oregon. These latter 2 would be the blueprint for their future.

For what seems most of my life, I was informed that the CD was inferior to the original LP. Truth be told, I only knew the album's sound via the CD so I didn't know the difference. I bought a sealed LP copy some 25 years ago - but I never wanted to break it! Typical record collector... In any case, it turns out the LP is still a sub $5 album, so I bought another one in shrink just to listen to it and compare. I haven't heard this album in forever, and possessed no musical memory of it, so I started with the vinyl for the comparison and then listened to the CD. Honestly I don't think there's that much difference. For certain, the CD sounds much better. The mix is far more clear, and the 2 acoustic tracks really shine better here - which isn't surprising given the heritage of both the band and the label at this point. As for the heavier tracks, I hear the keyboards moved up front a bit more, but it isn't like they hid the fiery guitar (not sure how one could do that to be honest). Nor did they erase the mellotron or anything crazy like that (I had read that they did too, jeesh folks don't pay attention do they?). The only flub up I see is the album cover. They really should have used the cool nature setting of the original LP. But I can understand why they wanted to use their standard aesthetic. I do appreciate the rougher original too. So I think it's worth keeping both (or all 3 in my case lol).

Ownership: LP: 1976 Passport. Single sleeve. Own two copies as noted above (one sealed). The sealed copy was acquired at the Record Exchange in Kansas City (1991)

CD: 1985 Lost Lake Arts. Jewel case release with short history. Lost Lake Arts is Windham Hill's label for reissues and archival material before joining the label. 

11/10/91 (first listen); 9/21/18 (review/new entry)

Far East Family Band - Tenkujin. 1977 Japan

There were a handful of record labels from America in the 1970s who tried desperately to bring what was happening over in Europe over to these shores. All without exception were met with apathy and commercial failure. Peters International probably had the best go at it via their thriving import business, but even they didn't really do all that well here. While there's always been a dedicated fan base on our shores, and especially a large following for the bigger name British groups, progressive rock / Krautrock - or what was once known as Euro Rock (you'll still see this term used by the older generation of US record dealers) - is just not something that captured the nation at large. Why this is, I really cannot say. As I - of course - am one that was most enamored, even at a young age. But the masses can be pretty dumb'd down sad to say. Enter the All Ears label, a California based concern, that may have been indeed the last great hope during the original LP era. Unfortunately for Tony Harrington and team, their arrival came at the tail end of the progressive rock movement, and many of the marquee names they signed, were indeed well past their prime. And All Ears met the same fate as the others: Boarded up and remembered only by a loyal few.

That paragraph sets us up for Tenkujin. Far East Family Band had just released their best album - by far in this author's opinion - with Parallel World, only to disappoint with Tenkujin. As you will often read from others, just because it's disappointing, doesn't mean it isn't any good. In fact, if you like earlier Far East Family Band albums, then Tenkujin might sound quite comfortable. They have reverted back to this sort of dazy Pink Floyd Dark Side of the Moon sound, and since I consider that album dull (I'm not alone here), then certainly a copycat isn't going to delight either. Still there's plenty of wonderful phased guitar, synthesizers, and even mellotron to enjoy. The vocals parts are where the music drags. And on the title track, it gets a bit late 70s lounge like, where one expects a hairy chested Paul Anka to take over the microphone.

Ownership: LP: 1979 All Ears (USA). Single sleeve. Light blue vinyl purchased many years ago (from a local record show I think). The original was pressed in both Japan and also here in the States in 1977. Album comes with a lyric insert, with the flip side containing a letter from label owner Tony Harrington detailing his experience with Far East Family Band. All good stuff. The images you see are this exact copy as we just added the entry to Discogs.

new entry; 1/19/22

Ruphus - Inner Voice. 1977 Norway

I once owned this album in the late 1980s and early 90s but eventually sold it. Now I understand why. Bought the LP again on a whim anyway and... time to say bye-bye to Inner Voice! By this time in the band's career, they had moved completely into jazz rock waters. There's nothing left of their progressive rock legacy as even found on their previous album, which this does share some similarity with. All the same, there's some blistering guitar work here, along with some nice Fender Rhodes. What's holding me back from appreciating it more is, quite frankly, the raspy female vocalist. You will be hard pressed to find a more tolerant fan of female vocals, in a rock or jazz setting, than I. But this gal really pushes the limits of her range. And she's pretty dominant on the recording, so there's no hiding from it or rationalizing it away (like with say, Epidaurus). I mean she ruins every track on the album. It's a decent album, especially when one considers the instrumental work by this veteran band. And it sports an even better cover. Too bad, that. The band - and she in particular - improved on the followup Flying Colours. So I recommend skipping this one, and going for that instead.

LP: 1977 Brain (Germany)

Troisieme Rive - Banlieues. 1978 France

Troisième Rive's sole album was part of the electrified French folk movement, which had gained quite a bit of traction in Brittany with bands such as Malicorne and Gwendal. However this album is from Besançon, on the eastern front, bordering Switzerland - though there are similarities regarding the folk rock approach. A vocal-heavy album, so if you're looking for more instrumental expansion, you won't find it here. There's even a hint of Peter Gabriel-era Genesis in the vocal passages, but again, no major instrumental break outs (not to say there isn't some fine playing from all, especially the guitarist). Good for fans of French folk rock with a mild progressive influence. Features a fantastic album cover, however.

I did own this album back in the 90s, and sold off. In reflection, that appears to have been the right move.

LP: 1978 Disques Iris

Originally reviewed: April 13, 2011 (updated here)

Popol Ace - Stolen From Time. 1975 Norway

After two albums as Popol Vuh, the band changed their name to Popol Ace, presumably to avoid confusion with the German band. Or... it could also signify a conscious move toward commercial rock. In some ways, Stolen From Time was about 10 years ahead of its time. On offer here is a concise, safe rock album, with progressive rock trimmings - the recipe for the Dutch (think SI label) neo prog scene that came about a decade+ later. There's just not much here except for a couple of interesting instrumental breaks and a handful of decent hooks. I suppose a band like Styx comes to mind here as well, but it lacks that Midwest American charm. The beautiful "Roger Dean styled" cover belies the contents within. Tragedy that.

The original German LP (which I'm parting with) is clearly copyrighted to 1975 on both the labels and the back cover. However, the last recording date was November 1975, so it may very well have been released in 1976.

LP: 1975 Polydor (Germany)

Originally reviewed: 2006 (updated here)

Charlies ~ Finland

Jail Sessions (1969-1970 / 2015)

Charlies were a legendary band from Finland, who released two albums before dissipating. Their debut was something of a lightweight blues rock album, but the followup Buttocks is one of the record collecting world's finest gems - a fast paced, heavy blues laced prog album with ripping guitar and fine sax and flute - recalling the German band Nosferatu or England's Raw Material. And originals on Love Records will cost one a month's salary...

Apparently guitarist and band leader Eero Ravi would disagree with my - and most others - sentiment about Buttocks. He hates both of the albums, and states they are not representative of the band as they were.

Enter the Jail Sessions. Based on the material presented here, I would have to say he's right, if this is indeed what they were about. There's nothing progressive about it, and the woodwinds are nowhere to be found. The Jail Sessions are recordings from 1969 and 1970 (presented in reverse order), the latter coming only a month before Buttocks was put to tape. Apparently Charlies would record their practices just to demonstrate to themselves the progress they were making. And yes, they did indeed play in the "drunk tank" of the local jail (apparently bassist Pitka Lehtinen's old man was the local sheriff) - I'm thinking of an Andy Griffith Show gone awry here - perhaps with Otis on vocals, and Barney on drums.

So what of the music? This is really grimy, nasty, and dirty heavy rock. The kind that garage collectors around the world crave. The MC5 let loose, with one tablespoon of The Stooges, and another cup of first album Blue Cheer. Screaming vocals, hyperactive rhythms, and extremely loud and fuzzy guitar solos. Not for the effete that's for sure. I quite liked this album, though not for the same reasons I enjoyed Buttocks. This one resonates with a primordial past somewhere deep in my DNA. Thinking caveman days here.

Ownership: 2015 Shadoks (LP). I think this has more historical data than I've ever seen for an archival release. Not only is the back cover chock full of info (in both Finnish and English), but the four page insert is loaded with information as well (all in English). They use a small type font of course... Also comes with a poster. 

9/21/18 (review)

Buttocks (1970)

Had you told me that Charlies' Buttocks was from 1970 England or 1971 Germany, I would have believed you. Fantastic loud acid guitar, amplified sax, soft acoustic guitar and flute, tribal percussion and deep vocals. It's the blues-rock-jazz sound that was so popular during this era, and one of my personal favorite styles. If you like groups from Germany such as Nosferatu, Ardo Dombec, and Alcatraz or the UK bands like Diabolus and Raw Material, then this one is for you. Very energetic and superb release.

Ownership: 2013 Shadoks (LP). Copious liner notes.

Hasn't been reissued legit on CD as I update this post (2/21/25).

1997 (first listen); 12/13/09 (review); 12/22/13 (update)

12/22/13 (new entry)