Capitolo 6 - Frutti per Kagua. 1972 Italy

Capitolo 6 were a band originally from Viareggio, Tuscany (and later relocated to Rome) who only managed to get out this one album, and then disappeared into the mists of time - an all too well known fate of many a Italian band of the early 70s. Frutti per Kagua is generally regarded as a tier 2 or 3 album, I personally hear it differently, and consider this one of the masterpieces of the Italian progressive rock style. It is not of the effete branch that is for certain. This is from the grimy, nasty, dirty, and unwanted streets of Italy. The music is raw, with hard guitars, stuttering flute, and constant meter changes. The rough and tumble vocals are the giveaway of their provenance. So it's here one realizes the music belongs more to the school of Jumbo, Odissea, Delirium, and De De Lind. If you want all of your Italian progressive rock to fit neatly in a box that only contains PFM, Banco, and Le Orme, then run far away. This is bare knuckle progressive rock that drinks beer not wine. I can listen to this album all day.

Personal collection
CD: 2008 BMG (Japan)
CD: 1994 Mellow 
LP: 2000 Akarma

Frutti per Kagua is one of the real gems of the collecting world, where originals cost 4 figures and the first digit isn't even a 1...or a 2. In 30+ years of collecting I've rarely, if ever, seen one for sale (even though it was on It - a label of RCA). It clearly didn't sell well in its day, and even well-heeled Italian collectors do not possess one. I don't believe it was ever imported in the States like many Italian albums were (albeit limited). That is to say, I've never seen one with a Peters Intl sticker affixed. The original comes in a gatefold cover meant to be viewed vertically, and has a pouch covering the entrance area of the LP. For this reason, and others, I'm quite happy to own the Japanese mini-LP which replicates this to the finest detail.

Frutti per Kagua was one of the last of the "name" Italian albums for me to hear. Because of the almost non existence of originals, we had to patiently await for the reissue market to come to the rescue. And it finally did when Mellow reissued the album in 1994, and I bought one immediately. I replaced this as soon as the Japanese mini hit the shelves some 15 years later. In addition I did pick up the Akarma LP along the way. It comes in a thick, heavy, but standard gatefold. In the end it was superfluous to own and sold it off.

As for the cover, I don't think it's fair to use post internet modern worldly sensibilities to judge the contents. This was 1972 Italy, and as I mentioned, this is grimy music. It's meant to be real, not fantasy. In an era where we have to view disgusting things on albums like swastikas, nuns performing sex acts, goat's blood, and dismemberment - all designed to shock you - in the end that's just stupidity. This isn't that. You may want to look away, but reality hurts.

Hero. 1974 Italy

Certainly one of the more unusual entries from the Italian progressive rock scene of the early 1970s, Hero’s sole album is an enigma, yet essential purchase for fans of heavy progressive rock. Some of the oddities found here include: 1. Though based in Italy, Hero relocated to Germany to record their sole album for the Pan label (Sahara, Metropolis); 2. Going against convention for an Italian band, Hero’s lyrics are entirely in English; 3. The album didn’t see a release until 1974, two years after the actual recording and one year after the death of group founder and guitarist/bassist Massimo Pravato. Hero were a highly innovative trio, driven by aggressive electric guitar, even though played primarily in a jazzy style (similar to Osage Tribe maybe). There’s also quite a bit of organ from vocalist Robert Deller (from England and whose vocal style is somewhat reminiscent of Peter Hammill). In fact, given the entirely disorienting nature of their music, it would seem Hero may have been the forefathers of the sound championed by the modern Italian group Garden Wall. Even though the majority of the songs don’t clear the 6 minute mark, it’s extraordinary how much material is packed into each composition. Generally mislabeled as a hard rock band, Hero present one of the real rarities: An album with no obvious comparisons. The closest I can get are some of the harder German underground bands like Virus, Necronomicon, or Erlkoenig.

Ownership: LP: 1974 Pan. Single sleeve. Acquired from a friend (1999).

CD: 2006 AMS. Papersleeve gatefold with liner notes.

1999; 10/6/06 (Gnosis); 12/6/18 (new entry)

The Bevis Frond - Triptych. 1988 England

Triptych is The Bevis Frond's 3rd proper studio album not counting comps and the like. The deal with Nick Saloman is he brings forth 2 distinct types of music to most of his recordings. The first is what I'll call "straight songs". While ostensibly from the neo psych school, I've found the music to be more toward the alternative/indie/college rock sound of the 80s. The singing tends to be flat and monotone, missing out on the wonderful harmonies of the 60s. Not to mention a lack of melodies in general. The music just sort of lays there, strumming chords, and plowing through each song, each duller than the last. The other side of The Bevis Frond is the jam element. And it's here that Saloman and Co really shine. He has a real knack for providing intense solos where needed, or creating the proper Kosmiche atmosphere - with a creaky old organ no less - so as to set the table for these solos. In effect I think he's a masterful psychedelic guitarist, more of the early 70s school... ...and a very generic songwriter. I realize not everyone will agree with me here, so for those of you who have a similar disposition to mine, then the albums you want to seek out are the ones with the most instrumental impact.

And Triptych is that album. In fact I'd say the very best of his entire catalog which is quite extensive (at least of those I've heard, which is most). Tracks like 'Into the Cryptic Mist', 'Phil Exorcises the Daemons', and 'Tangerine Infringement Beak' are great examples of this. There's even one fine "straight" song this time in 'The Daily Round'.

If you're looking for the right place to start with the Frond, and your background is more of a "head" who enjoys psychedelic in the cosmic Krautrock sense of the word, then I suggest you start right here with Triptych.

Personal collection
CD: 2001 Rubric (USA)

My first copy was the original US LP on Reckless purchased upon release. But at the time I didn't appreciate the contents and moved it out rather quickly. Many years later I picked up the CD. Which is the way to go as it features 6 very good and relevant bonus tracks.

Ga'an - Black Equus. 2011 USA

Interesting Zeuhl styled album from Chicago. The pounding rhythms, the driving bass, chirpy keyboards, haunting organ, and overall martial style are certainly hallmarks of the genre. Lindsay Powell's vocals, however, are a bit tough to take. She doesn't sing, she doesn't chant, she doesn't hum, she doesn't recite - she just caterwauls - in whatever key she feels like. I love just about anything in the Zeuhl genre, but this one is a bit of a slog. Also, the thuddy bass-heavy production is another problem. It's very good, but somehow it seems it should be better.

Personal collection
LP: 2011 Captcha

KKB - s/t. 1974 USA (archival)

Bruce Kulick is one of those guitar players you've heard of, but can't quite remember why. He's most known for his long stint in post-makeup Kiss during the 80s and early 90s. Today you're likely to see him in a reality show, helping Kiss out somewhere, or doing the nostalgic circuit with none other than Grand Funk Railroad. Yea, he's that guy.

But before all of that, when still in his early 20's, he formed an unnamed band in 1974 (KKB was a later appellation) in his resident Queens area, with a couple of neighborhood acquaintances. They had set out to be a cross between "Cream and Yes". Well they failed on both fronts, and the latter will never enter your mind. With that out of the way, what you do get is a tightly woven hard rock album, with decent songwriting. The rhythm section is fantastic here, and Kulick lights it up with some fuzz and wah-wah. And the production is excellent for something like this. If there's a downside, it's there's not that much material here. 'Someday' is kind of throwaway, and 'You Won't Be There' is represented twice, the latter with more jamming. So you're really looking at about 26 minutes of quality music, which is a solid EP length. On the whole, an excellent archival release.

Personal collection
LP: 2015 Shadoks (Germany)

This was originally released as a private CD in 2008 (under the title 1974), and flew completely under everyone's radar. Shadoks got wind of it, and released it on vinyl in their usual deluxe style. The LP is a thick single sleeve cover, with an insert filled with liner notes. And as an all-time first (for Shadoks) - it's cheaper than the CD!

Scram ~ USA ~ Ohio

Scram (1980)

Scram were a band from Springfield, Ohio that represented the second incarnation of Lodestar, a fine group who had put out one solid hard rock album in 1977. Leaving behind Lodestar's fraternal rhythm section - and later one of the lead guitarists - Scram were very much of their era in terms of hard rock with commercial ambition. They clearly weren't tuned into the metal underground as this was music to get a record deal and regular steady gigs at various regional clubs. Mostly held back by the tendency to fall into the AOR tropes of the day, they still had a few good hard rockers in 'Street Rat Shuffle', 'Patchwork Blue', and the opening title track. They don't really let loose until the last two minutes of 'Mirror Minds', by which time most have tuned out. Worth hearing for genre fans though.

Reissued on CD by Retrospect (2009)

11/30/18 (review)

2018 Journal #7: Michel Madore, Bayete, Cesar Ascarrunz, AnVision

Michel Madore - La Chambre Nuptiale. 1978 Canada

Instrumental electronic album. A bit static on the whole. Never been reissued.

Bayete - Worlds Around the Sun. 1972 USA

Bayete, Todd Cochran by any other name, is a highly praised jazz release, but I don't hear anything overly special myself. It's... jazz. Good but nothing more.

Cesar Ascarrunz - Cesar 830. 1975 Bolivia

Has a couple of great songs, along the lines of Santana ('See Saw Affair' and 'Gotta Get Away'), but mostly this is fairly typical of the region. I had such high hopes for this title originally.

Anvision - Astralphase. 2012 Poland

Despite purporting the album to be more progressive rock oriented, along the lines of Eloy, this album proved to be somewhat generic prog metal. It's good though.

Shotgun LTD. ~ USA ~ Los Angeles, California

---10/20/15

Los Angeles based Shotgun LTD are one of those groups I passed over dozens of times in my crate digging years of the 80s and 90s. That looks to have been a mistake. Even though it's not a masterpiece, it's a fine example of North American hard rock, with blues and even a slight rural underpinning. The three track sequence on the first side starting with 'Against the Wall' is simply fantastic, and there's more than a nod to the Hammond organ / electric guitar based proto-prog sound here. Hard to imagine anyone who enjoys the latter genre not being impressed with 'Number Two'. After this, the album's momentum begins to slow some, and by side 2 there are couple of country rockers to endure with 'River of Hope' and 'Feelin' Bad'. All in all though, a fine discovery after all these years. Would make for a nice reissue, perhaps with some relevant bonus tracks to kick it up a notch.

---4/29/22

+1 listen! Hilarious cover too, as the band and their presumed pregnant girlfriends are gearing up for a "shotgun wedding".

Not reissued as of 4/21/26.

Ownership: 1971 Prophesy (LP). Acquired in 2022.

10/20/15 (review); 11/28/18 (new entry); 4/29/22 (update)

Quasar Light ~ USA ~ Pennsylvania

Experience This (1981)

Quasar Light were from Red Lion, Pennsylvania, which sits in the southeast part of the state, in and around Amish country. This isolation in the middle of farm country may explain a few things, as these guys were tapped into something that has yet to be followed up with anywhere else.

One of the absolute funniest reviews I've ever read concisely stated the following: WTF is.... this?  That got a belly laugh out of me. How many times have I felt exactly like that? Who knows, but no album I've heard qualifies that expression more than Quasar Light.

WTF is this indeed. I don't even know where to begin. Umm... yea, it's exactly like... OK wait. You can compare them to... No...  but.... yea, that.

The first four songs on the album sound like some kind of alien pop with nimble hard rock guitar picking and disembodied female vocals. There is no mistaking its 1980's heritage here. 'Don't Ever Leave Me' seems to be heading down a somewhat normal path, to the point of discouragement. Starting with 'Secret of  the Stars', Quasar Light begins to go completely off the rails. This sounds like a off-kilter version of this list. Then Side 2 all bets are off. They were in their own world. Not that it's avant noise or anything so overt as that. No, they're still going strong with actual composed songs. But they're strange, twisted, distorted, and downright complex at times. It's progressive rock from the 6th dimension. There is absolutely no reference here. Based on their location, one begins to wonder if they're Amish on a Rumspringa binge. The only reference I could find on this album was a stream of consciousness rant from the Quasar Light founder. Yea, a surprise that. Underground America at its weirdest right here. A must.

Ownership: 1981 Jet Eye Records (LP) 

Not reissued as of 2/26/25.

7/20/11 (review); 11/23/18 (update / new entry)

Innervisions ~ USA ~ New Jersey

Beginnings End (1977)

---6/22/15

Innervisions were an eight piece horn rock band from New Jersey and perhaps the most surprising aspect of this release is the recording date. This kind of record was waaaaaaaaaaaay past its shelf life in 1977. It sounds more like 1970 era Lighthouse than anything coming around this late. But it's still mixed with that wonderful and aggressive Terry Kath-like raw guitar and a few complex horn charts. The pop is really a bit too saccharine to highly recommend to progressive and underground rock fans, though it is a pleasant listen if in the right frame of mind. And honestly being the sentimentalist I tend to be, I find myself attracted to music such as this. Overall a strange anachronistic album with a very cool private looking cover.

---10/11/22

In hearing this album again last night, I enjoyed a +1 listen due to my increasing enjoyment from that particular era of sentimental pop. But I still have to shake my head on just how out of time this album really is. No one was doing music like this in 1977, especially here in the States.

Ownership: 1977 Visions Ltd. (LP). Lyric insert. Great cover as noted above. The pressing, however, is atrocious. Makes the Soviet label Melodiya seem like Mobile Fidelity Sound Lab by comparison. All copies (apparently) have dimples, and mine has the added bonus of a stress lift on the last two tracks of side 2. Would have been nice had the seller pointed that out. Its impact is no worse than the rest of the album where occasional ticks and pops are the norm. This is an album that would benefit greatly from any kind of master tape quality reissue. Also worth noting is that that the labels and the back cover are reversed. For whatever reason, Discogs insists the back cover is right. But Side 2 is Side 1 if scoring at home.

No reissues as of 3/30/25.

6/22/15 (review); 11/23/18 (new entry); 10/11/22 (update)

Node. 1995 England

Before AirSculpture, Radio Massacre International, Under The Dome, and Redshift, there was Node - the group primarily given credit for kicking off the entire retro-Tangerine Dream movement in the UK. As with most pioneers, I don’t think they were as cognizant of recreating a style as they were compiling a vast array of influences and then proceeding to move them forward in an exciting way. As such, this isn’t nearly the dead-on Rubycon meets Timewind sound the others have striven so hard to emulate. A full four member group with Modular Moog, Ring Modulated trumpet, "The Putney", and "Interactive Phase Synthesizer", Node engage in all sorts of random possibilities that the style affords. Radical, groundbreaking, richly produced, rhythmically interesting, and brilliant.

Ownership: CD: 1995 Deviant

11/19/18 (new entry)

Vecchio ~ Argentina

Afro-Rock (1971)

---10/18/09

Afro-Rock is the debut album by Argentine keyboardist Luis Vecchio, later resident of the Canary Islands. Recorded for the sound library label DeWolfe, the album is frequently mentioned in hushed reverence among the beat digger DJ collecting crowd. And it's easy to see why, given its massive brass charts, funky bass lines, fluttering flute, choppy organ, and additional hand tribal percussion. Unlike most incidental film music, Afro-Rock works more like a regular instrumental album and isn't just a disparate bit of sounds and rhythms. Each song can hold its own, and is definitely positioned well for repeated listens. To my ears, Afro-Rock seems a prototype for a group like The Budos Band, who were to show up some 35 years later with a similar sound.

---2/1/23

New CD came in last night, so I revisited the music. I'm doubling down on The Budos Band reference. It's as if that Brooklyn based band absorbed this album completely before going to the studio for the first time!

Ownership: 2022 Kray (CD). Straight up reissue without any further data. Been confirmed to be legit. Looks like the label obtained the license from the original label (Music DeWolfe) but didn't collaborate with the artist(s). Lost opportunity. Originals are price prohibitive in relation to my interest in it, so this CD will have to do. The sound is good at least.

10/18/09 (review); 11/16/18 (update / new entry); 2/1/23 (acquired / update)

La Confrerie des Fous ~ France

La Confrerie des Fous (1978)

La Confrerie des Fous' sole album is a fine example of the kind of electric progressive folk typically found on the high quality Ballon Noir label (especially Ripaille, Emmanuelle Parrenin (who is also a member here)). A very interesting album that really gains steam on Side 2. It can be still a bit too much silly fous/fou here, but when they get down to the music, it's quite good.

Former ownership: 1978 Ballon Noir (LP). Acquired in 2010.

No reissues exists as of 2/23/25

8/5/10 (review); 11/16/18 (update / new entry)

Cannabis India - SWF Session 1973. Germany

When you come from Germany, and you moniker your band Cannabis India, one expects a Kosmische Krautrock freakout along the lines of Yatha Sidhra or Cosmic Circus Music. Nope. The misnamed Cannabis India is an archival release of a German keyboard trio who play in the classical progressive rock space. Somewhere between Trikolon, Sixty-Nine, and first album ELP is where you'll spot their sound. Not highly original, but quite spirited, so worth a few listens. The real revelation here are the two tracks from the followup group Universe. At this point, they propel their ELP worship into a new found love for Yes, especially considering the Squire-ish bass work. Here the band strangely sound entirely American - miles from the typical Germanic Pink Floyd styled symph rock that dominated the middle 70s. One hopes more recordings emerge from this era of Universe, as that would be an auto buy for certain.

Kanguru - s/t. 1981 Germany

Kanguru is a band formed from the ashes of other German jazz fusion bands of the time, including the group To Be. The latter offering a guidepost to the sound you can expect from Kanguru, especially considering the late 70s Santana influence. There are some excellent guitar fronted instrumentals here, most notably 'Titti Fritti' and 'Ein schönes Haus im Grünen'. 'Atlantique' sounds lifted right off of Santana's Amigos album. The album starts strong, but the latter half of side 1 is silly and somewhat tedious. Overall a varied album with a few nuggets, but perhaps not enough to sustain interest over time.

LP: 1981 Pingo

The original LP appears to be easier to find now than even when I sold it many years ago. There's also a CD on Spalax (France) if interested.

Elmira ~ Denmark

Lady of the Mountain (1973-1976 / 2001)

Elmira's sole release is the archival Lady of the Mountain and is "recorded live at rehearsals between 1973 and 1976". Similar to the Polyfeen on the same label, it's basically a bootleg audio quality album, but musically interesting all the same. Long tracks with plenty of space given to Hammond organ and guitar solos. Downer vocals remind me of Procol Harum. Certainly not in vogue with the era, and sounds every bit like music one would hear in 1970. Worth a couple of listens, but not essential.

11/16/18 (review / new entry)

Robin Runge ~ USA ~ Texas

Don't Give Up the Ship (1977)

Here's Runge's second, and better album. Though his name is Robin Runge, the male / female duo on this album is known as Robin. The album was recorded and released in 1977 on the DIY Century. The album overall is primarily an acoustic, but sophisticated folk rock work, with plenty of synthesizer to add color. The guitar playing is clearly inspired by Steve Howe and the vocals have a pleasant lilt like Jon Anderson. Could have been a song based Yes album from the same time period (1977-78), with overt Christian, rather than Eastern religious / mystic based lyrics. A good progressive folk album from an unlikely source.

Former ownership: 1977 Century (LP). Gatefold. Acquired in 2012. Downsized in 2020.

1/19/12 (review); 11/16/18

Don't Give Up the Ship (1974)

Apparently Mr. Runge decided to skip his Creative Writing class or he really, really doesn't want you to give up on the ship (though perhaps a recent Italian captain would have benefited from such sound advice). Regardless of the motivation, these two distinct albums caused quite a bit of confusion for this author anyway.

The 1974 album is considerably more raw and amateurish than the follow-up as might be expected from a one man band - though there still is plenty of keyboards, including a cool mellotron blast to open the album, which continues on through most of the track. Of interest to DFW readers - one track is recorded live at Six Flags over Texas in Arlington.

Former ownership: 1974 QCA (LP). Acquired in 2012. Downsized in 2020.

1/19/12 (review)

No reissues exist for either as I update this post (5/24/26)

11/16/18 (new entry)

Uludag ~ Germany

Mau Mau (1988)

Uludag's sole album consists of two side long tracks that crosses various Asian styled music with that of avant prog. The album is entirely instrumental and unlike anything else I've heard. One can tell quite a bit of thought went into this, and the music is intricately composed. Groundbreaking on the whole, though not necessarily that enjoyable, once the novelty of the sound wears off.

Former ownership: 1988 Review (LP). Acquired in 2006.

As of 2/23/25, the album remains without a reissue of any kind.

2006; 3/13/12 (review); 11/16/18 (update / new entry)

Junipher Greene - Friendship. 1971 Norway

Junipher Greene asks of the listener: "Try to understand, we think you can". This is how Friendship blasts out of the gates, and it doesn't stop that momentum to the last note some one hour plus later. With lethal fuzz guitar, stuttering flute, impassioned vocals, and a hyper rhythm section, Friendship is one of the gems of the Continental European progressive rock scene of the early 70s. Isolated in faraway Norway - especially for the era - it's an extraordinary 2 LP release, and is arguably the Nordic country's first progressive rock album. And quite possibly the very best too until modern times.

You'll often read that due to the length of the album, there are weak tracks or filler throughout. I just cannot agree, and do not hear what those tracks might be. Well, OK, 'Attila's Belly-Dance' is a bit silly, but at 39 seconds I think we can survive that. The worst song here, in my estimation, is 'Witches' Daughter', and after a molten guitar lead mid section, it just merely falls to excellent verse sublime. The stretch from 'Music for Our Children' through 'Magical Garden' is absolutely divine, each one diverse, but still energetic and highly melodic. Then comes the album's one-two punch. 'Maurice' is at the very top of what I call "flute groovers". The listener is mesmerized as one great melody after another is introduced while maintaining a head bobbing and ever changing rhythm. A masterpiece, only to be followed (after silly bit as mentioned above) by the brilliant 'Prelude: Take the Road Across the Bridge', with its killer Hammond/guitar combo. Interesting to note that Freddy Dahl covered this track later with his next vehicle Saluki, a decidedly more jazz and funk oriented band, and yet it remains a 5 star classic there as well. All this leads to the multi-part "side 4" title suite, which recalls the run of tracks starting with 'Music for Our Children'. In conclusion, Friendship is one of the all-time greats and is not to be missed.

Ownership: LP: 1971 Sonet. 2xLP gatefold. Online acquisition (2022) from a dealer in Norway. 

CD: 1989 Sonet. Standard jewel case release and was my first exposure to the album (1995). 

1995; 3/7/10; 11/9/18 (new entry)

Julian's Treatment ~ England

A Time Before This (1970)

Julian Jay Savarin is something of an enlightened individual. He is a writer and a musician, and was very much a member of the London avant garde of the late 60s, even though he was only a teenager at the time. Mostly known for his science fiction novels, he decided to cobble a group of fellow minded individuals to put words to music. Taking in the music of the day, and given his predilection for creativity, it comes as no surprise Savarin embraced the oncoming progressive rock movement. In addition to his Hammond organ, the band featured the usual guitar, bass, and drums backup. The two key sound elements that distinguish his new band were the addition of flute (the sole reason he chose Del Watkins as his guitarist was because he could double up on flute), and most importantly the vocals of Australian Cathy Pruden. Apparently, along with her distinctive voice, she was just as striking looking (there are scant pictures of her, but what one can find she does add a couple of degrees to the room), and was considered the perfect front person for the band. And she was quite "active" on the stage as well. According to those who saw them live, the concert left many a male in a cold sweat afterward.

I consider A Time Before This one of the cornerstone albums of my Post psychedelic, proto progressive with female vocals list. What does that mean really? Basically their sound borrows from the late 60s psychedelic movement of Jefferson Airplane et al, and takes the idea a few steps further in the creativity department. Every track here is excellent, but highlights include 'The Black Tower', 'The Terran', and the lengthy closing title track. Essential listening.

Much is made of the difference between the UK and US releases, given the former is a double LP. I don't agree that it's that jarring. The UK version is 52 minutes, which is quite short for a double. The American release is 42 minutes. Where did the 10 minutes ago? Trimming, shaving, and editing. I think they did a masterful job at capturing the essence of the recording, and I was hard pressed to notice the difference on a back to back listen of both versions. 

Ownership: 1970 Decca (LP). Uni-pak gatefold. One of the very rare cases where the US cover supersedes the original in terms of artwork. Acquired in 1988.

1988; 1996; 11/9/18 (review)

Also own: Waiters On The Dance

11/9/18 (new entry)