Nexus Erratic ~ Switzerland

Inverse (1983)

OK, I admit it. I'm a closet neo progressive rock fan. I remember when it was known as the New Wave of British Progressive Rock (NWOBPR) to counter the NWOBHM movement (of which I'm also a fan). And I love all those early albums in the style by IQ, Marillion, Twelfth Night, Pendragon, Haze, Tamarisk, LaHost and a few others that you might find on this site as well. Unfortunately the term "neo prog" became muddied later in the 1980s when it became a euphemism for thinly disguised arena rock / AOR but with longer songs and fantasy lyrics. I was turned off, as were many other progressive rock fans.

But there weren't too many progenitors from continental Europe, especially Switzerland (not counting the rather dubious Deyss), until many years later. Nexus Erratic fits squarely in the 1982 / 83 UK neo sound. The only other band from Switzerland I can think of like this is Galaad (a very good early 90s band), another group from near the French Alps (as Nexus Erratic is). However Nexus Erratic are minus the Ange, Mona Lisa influences of Galaad - this is definitively UK sounding. I was really surprised by how much I liked this one. Cautiously recommended to most, highly recommended to those who love a good old fashioned early 80's UK "neo" album.

Ownership: 1983 Turicaphon (LP). Poster lyric insert. 

Not reissued as I update this post (3/12/25).

10/15/10 (review); 5/4/19 (update / new entry)

A.R. & Machines - AR 3. 1973 Germany

The 3rd album from Achim Reichel's experimental group A.R. & Machines is a return to the sounds and concepts of Die Grune Reise. Gone are the long sprawling trips of Echo in exchange for the return of the (relatively) short form track. And like the debut, most of the compositions blend into each other. AR3 isn't as crisp, energetic, or as pioneering as Die Grune Reise, but I find it no less satisfying on the whole. Admittedly it starts of a bit slow with 'Warum Peter Nur Noch Ferien Macht', but it gains momentum throughout the song and by the time of 'Tarzan’s Abenteuer Im Sommerschlußverkauf', you should find yourself deep within its grasp. This is the kind of music one needs to immerse themselves into, rather than looking for hooks and jaw dropping instrumental moments. It's a type of psychedelic miasma, and one of Reichel's trademarks honestly. To me, the vocals are very similar to the debut. You can barely hear them, and they are warbled and mumbled rather than sung. The opening to Side 2 'Die Eigentümer Der Welt' is the only disappointment here, given it's more of a vocally oriented psychedelic folk song, and definitely ruins the flow, especially if hearing it on CD.

I find myself in the minority with AR3, and consider it one more link in the chain of 6 album classics starting with Die Grune Reise and ending with Erholung. Essential.

Ownership: LP: 1973 Zebra. One of the earliest obscure Krautrock finds that I brought into the collection, having stumbled onto the original at a local Dallas record show way back in the summer of 1985 for all of $2. I had no idea what it was, but it certainly had the look of the type of album I was seeking - and continue to seek some 34 years later. I still have that exact LP which was, and is, in NM condition.

CD: 2017 BMG (as part of The Art Of German Psychedelic 1970-74). 

This is the first time for me to cover the box set, since I put the first 2 albums in Journals instead. Below is my (starter) review for it. I'll refer to this post going forward in reference.

The Art Of German Psychedelic 1970-74 is an extraordinary 10 CD box set that comes with a 96 page hardbound book with full historical notes and unique photos.

It includes all of the electronic/progressive/Krautrock A.R. & Machines / Achim Reichel albums + much more.

The reissues include:
Die Grune Reise (reissued twice legally before)
Echo (first legit reissue)
AR 3 (reissued once by Spectrum and very obscure at that)
AR IV (first legit reissue)
Autovision (reissued once by Spectrum and very obscure at that)
Erholung (first legit reissue)

Concerning Erholung, it's actually the full concert and includes an additional 34 minutes to the original Brain LP.

AR IV also includes an additional 31 minutes of live in the studio.

In addition to the above 6, there's a live concert from 1973 in full; Remixes from 1996; a DJ mix CD; and a CD that is called 14 Pieces For Guitar and Echo Chamber.

1985; 5/4/19 (new entry)

Little Brian - Thrash Funk. 2007 USA

Thrash Funk is one of the most interesting albums in my collection. If you read what's on the tin, the album promises to combine two great genres: Thrash metal and jazz funk. However, other than perhaps the title track (maybe), it doesn't really contain thrash metal. But there's definitely heavy metal parts - as added to a jazz rock album. Funk nor jazz in metal is hardly a new concept, but what separates Little Brian from the others is that the jazz is really more what was known in the late 60s and early 70s as horn rock. Now that I've not heard mixed with metal before. And it's all instrumental, making it just that much more unique. I really appreciate the tight horn charts juxtaposed against the heavy riffing of the guitars.

The album starts off with a head fake on 'Slow Greasy', which is a self defining title - that of a grimy blues jazz. Then 'T-1000' blasts from the speakers and offers up the album's highlight, sounding like a fine mix of early Chicago and a speedy Iron Maiden. From here on, Thrash Funk continues in this manner. It's a relative short album (around 33 minutes), spread across 11 tracks, which is the perfect length for music such as this. The album's closer 'Party' continues on (after what I consider the end of the album) into silence and then breaks into a lengthy experimental bit. Not sure why they appended this on as it has nothing to do with the album proper, and it's not particularly well done (annoying in fact). But you can stop the CD prior to it.

Little Brian were trailblazing a new path, and I for one would like to see other bands in pursuit of similar. It takes a lot of work to write in horn charts within the context of complex metal compositions. Unfortunately it appears this album was to be a one off. A very obscure one at that. See below.

Personal collection
CD: 2007 private

The CD comes in a digi-pak, and at one point was available from CD Baby, where I purchased mine. You can still get a download version, but the CD has gone extinct. But I'm not sure who bought it other than me. I added this album to Discogs over 2 years ago, and remain the only owner, with precisely zero people wanting it. On RYM, 2 of us own it (the other being a friend there) and has all of 3 ratings. Gnosis has 3 ratings as well including mine. A tragedy an album like this is so unknown.

Aquarelle - Live a Montreux. 1979 Canada

For their second album, Aquarelle took the unusual step - at such an early stage of the band's career - of releasing a live album. Even though it is a live recording, most of the material is entirely original with the exception of the closer. Throughout this engagement, the composition style is similar to Sous un Arbre, except there are obvious ploys to appease the jazz crowd, perhaps to be expected at such a famous jazz festival. For example there’s the inclusion of electric piano, more soloing (especially saxophone), the addition of some funk (which was popular then), less female voice, and the electric bass playing has more of that "warm" jazz sound as opposed to the more direct rock approach of the debut. All of these are slight distractions from the special sound of the first album, and thus rates slightly less, but scores a little better with traditional fusion fans.

The newly penned tracks 'Second Réveil', 'Récital des Grenouilles', and 'L'Étranger' are all excellent and would have been fine additions to their prior effort. The only disappointment is 'Estérel', where 'Part I' is a snoozer of a chamber-like piece and 'Part II' is really annoying, where the sax honks and the new female vocalist caterwauls her way through it. This leads to the raucous closer, the 9 minute extended version of the riveting 'Magie des Sons' from the debut. One of Aquarelle's best tracks, the extra time is padded with an incredible piano concerto from bandleader Pierre Lescaut (my, what a talent!) as well as a bit of a drum/violin hoedown. Pierre Bournaki is clearly the other great talent in the band. The crowd really seemed to love it as well.

As noted above, the album scores a notch below the studio effort, but is still not be missed by fans of crossover jazz fusion and progressive rock.

Personal collection
LP: 1979 Atlantic

There does exist a CD on Belle Antique from Japan. The source was provided by the band. I didn't hear this CD, but if their version of Sous un Arbre is any indication of the quality, I'll pass. Both of these really need to be reissued properly.

Nova Express ~ Germany

Space Khmer (1987)

Germany's Nova Express, a common band name derived from William Burroughs' novel title, are a band I first heard about from Freakbeat in the early 1990s. Opening track 'King & Princess' reminds me quite a bit of early Amon Duul II - especially the shorter songs as found on Tanz der Lemming or Carnival in Babylon. This element becomes apparent in the psychedelic guitar work and the heavily accented male vocals. The organ they employ is actually an older vintage than what Amon Duul II used. Throughout the LP, one will also detect some influence from the post punk crowd of the early 80s, which shows in the songwriting. Nova Express goes toe to toe with, and even predates, some of the best UK neo psych bands of the era, such as Sun Dial and The Bevis Frond. Overall, a very good neo psych / neo Krautrock album that time has completely forgot.

This album was quite difficult to find back in the 90s. But surprisingly not so tough these days. It's hardly a common press, and there lacks any kind of reissue (as of 9/29/25). There's just not enough demand I suspect, which I'm willing to bet means it's more unknown than unwanted.

Ownership: 1987 Syndicate (LP). Acquired in 2003.

9/1/03; 1/19/11 (review); 5/4/19 (update)

Nova Express / Nick Riff / Submarine Prophets - Freakbeat No. 8 (1993)

This EP came free with issue number #8 of Freakbeat released in 1993 by Delirium Records, who were at their height back then. I've owned the vinyl pretty much since then, but I don't think I ever played it! Recently I found it hiding in my copy of Nova Express' Space Khmer, an album I was in the process of revisiting.

What we have here, perhaps no surprise given the source, are three excellent neo psych tracks. I would not have recognized Nova Express in this setting. At this point they have female vocals and the music is much more straightforward then their two more Krautrock influenced albums (though make no mistake, both are heavily entrenched in the neo psych trends of the day as well). Nick Riff has a lot of albums, none of which I'd heard prior, but based on the strength of 'The Limitless Light' I'd certainly be up for hearing more from him. Submarine Prophets is a completely new name for me, and it appears they have three EPs out as well. Again 'Green Cathedral' has all the earmarks of the time and place when talking 60's psychedelic revivalism.

Ownership: 1993 Delirium (SP). Acquired in 1993.

1993; 5/4/19 (review)

Once in the Blue Moon (1991)

Following on from Space Khmer, Nova Express' second album is a bit more aggressive and, dare I say, punk-ish if you will. But it's still very psychedelic, especially in the ferocious guitar work and with some atmospheric distant / narrative vocals employed. The album gets considerably freakier and psychedelic as it goes. Without knowing they were from Germany, you could be forgiven to thinking they were influenced by the Bevis Frond neo-psych camp (which I think they were actually). About the only other band I've heard like Nova Express, from Germany at least, is the equally obscure Der Kampf Gegen den Schlaf.

---9/29/25

Hearing this album for the first time in 13 years, and really no arguments with the above. However the vocals are far more prominent than stated. It's as if Lemmy took over Hawkwind real time, after 16 years with Motorhead. Post punk is probably the better tag, though the aggressive side of neo psych is appropriate. The final track 'Little Girl Blues' is the only song here that could be labeled space rock, and is the highlight of the album. The CD features one bonus track: 'I Wanna Know' (7:54) which really cements the Hawkwind comparison, especially considering the riffing guitars. This track is very much worth pursuing, and makes the CD more desirable than the LP that was released at the same time.

Ownership: 1991 Heartache Transplant (CD). Booklet with band photo. One bonus track. Acquired in 2010. Downsized in 2026.

12/28/10; 12/2/12 (review); 9/29/25

12/2/12 (new entry)

Jeseter - Slavnost Pro Jednoho! 2008 Czech Republic

In the last decade or so, there have been a couple of excellent Czech groups performing music in the retro progressive rock genre: Hokr and Cuprum. Unbeknownst to me there was a 3rd band also hiding under the cover of darkness. And that would be our subject today. Jeseter (translates to Sturgeon) are a band from Ostrava, located on the eastern part of what is now known as Czechia, bordering Poland.

Apparently Jeseter began their career as a Yes cover band. There are worse ways to build out one's prog chops than studying at the hallowed halls of Yes. So when it was time to branch out into original material, most assuredly Close to the Edge and Relayer would be the sound path they followed right? Wrong. Instead, Jeseter looked inward (similar to the above two groups) and researched their own country's respectable past. Czech is the language of choice, and the influences come from the late 70s and early 80s Czech progressive scene. You won't hear Modry Efekt or Flamengo here, but rather more Synkopy and Progres 2. There's also a strain of neo prog blending throughout - similar to IQ maybe. At times the music here is brilliant. Jeseter does continue to circle greatness but doesn't quite achieve it - at least here on their debut (the only one of three albums I've heard to date). The vocals can be a bit stiff, which was a problem for the communist era bands as well. Sometimes the music can be a bit too straightforward, but make no mistake, this is still certainly progressive rock for fans of the style. Compared to Hokr and Cuprum, Jeseter finds themselves behind the curve. But the potential is certainly there, and I'm most interested in hearing their later works. High side of the RYM 3.5 rating.

Personal collection
CD: 2008 private

The CD is obscure as all get out. I had to add it to Discogs and it appears I'm the only one to own it on RYM as well. Comes in a very fine tri-fold professional digi-pak.

Winds of Sirius - Beyond All Temples and Myths. 1999 France

If you ever wondered what it would be like if the Knights Templar had released a heavy metal album - and who wouldn't think about that? - then Wind of Sirius gives us a peephole into that fantasy world.

Though the album and songs are all titled in English, the booklet indicates the lyrics to be in French. Even with headsets I could not figure out what language they were singing in! The vocals are all of the Bleaahh, bliiii, BRAAAAAAAA variety. Perhaps Jacques de Molay sounded like this? Hey you never know...

The whole album is so damned earnest it's hysterical. But there are good ideas here, especially the use of keyboards and the overall sinister air. Makes one really believe they've entered some dark castle and are about to learn how to cast magic spells with some sultry vixen nearby.

RYM designates the genre here to be Gothic meets Death Doom. OK, sounds good. Not for me I'm afraid.

Praise Space Electric ~ England

2 Leaving Demons (1994)

2 Leaving Demons is the 3rd album from Praise Space Electric (counting the cassette release Dobedoo as the second), a band who were part of the UK Festival psych movement of the early 90s. The album starts off very strong in a strange jazzy organ, psychedelic guitar way. The first three tracks are great and then begins to break down a bit. Starting with '300,000 Million Years' the album becomes entirely too eclectic with disparate ideas that do not flow at all. Anywhere from The Beatles to techno / house music. Still the first five of six songs makes this one work.

Former ownership: CD: 1994 Delerium. Tri foldout booklet has photos and recording information.

2009 (first listen); 4/27/19 (review / new entry); 1/1/25 (update)

Sensory System ~ Denmark

Sensory System (1974)

In Denmark, the band were known as Sensory System, but in Germany they maintained only the System moniker. Not sure why, but I'm guessing there's a story there somewhere. Like many Danish hard rockers, Sensory System had their basis in rural rock, and are not that far removed from Day of Phoenix, Culpepers Orchard, and Midnight Sun. System is certainly more straightforward than any of these groups, but does feature some fine guitar work throughout. The album also reminds me of the debut by Rush, oddly enough. 'Experience, My Teacher' is the highlight of the eight tracks featured here.

No legit reissues as of 4/7/26.

Former ownership: 1974 Nova (LP)

4/25/19 (review)

UMR's Kraut Fusion list has been published by It's Psychedelic Baby!

Many of you are most likely familiar with It's Psychedelic Baby!, a long running webzine that has interviewed - in depth - some of the most obscure (and well known) progressive and psychedelic bands of the past. It's a great resource that I constantly come across while doing my own research.

The gentleman behind the website recently reached out to me and asked if he could publish the Kraut Fusion list that I put up on RYM back in the summer of 2016. Of course I said yes. We tweaked the content and format a bit for better presentation, and now it's been published.

Have a look see!

Lodestar ~ USA ~ Ohio

Lodestar (1979)

Springfield, Ohio's Lodestar were typical of the era and location. Badass hard rock was the order of the day, with its loud guitar and AOR styled melodic anthem mentality. That which was predominantly played on the region's FM stations of the day. I'm pretty sure I heard cowbell (try the Shakespearean 'For the Want of a Woman' if you're not paying attention). This is the music one plays at the warehouse, in the middle of summer while sweating bullets, desperately awaiting the "roach coach" to bring you the chocolate milk and Dolly Madison Zingers you so crave. All five guys on the cover look like they should be wearing Gulf Blue uniforms, oval name patches, and holding a wrench. And after recording this album... ...they probably did!

Badass, yes, badass indeed.

Turns out 3/5th's of the band formed a more commercially oriented hard rock band called Scram a year later. THEN they went to work at the gas station...

Ownership: 1979 private (LP)

Not reissued as I update this post (3/11/25)

4/13/10 (review); 4/3/19 (update / new entry)

Aquila ~ England

Aquila (1970)

Aquila were an obscure band from England, a spin off from the relatively popular Blonde on Blonde. Somewhat typical of the era, Aquila utilized saxophone and flute to augment the usual guitar, Hammond, bass, and drums format. The vocals are roughhewn'd, yet another hallmark of the era. Echoes of Diabolus and the debut albums from Gravy Train and Raw Material come to mind here as well. Fine organ solos throughout with some nice contrast provided by the acoustic guitar. I like the way the band jams over the harmony lines. Album closes in a melodic horn rock way similar to perhaps Blood, Sweat & Tears, or more to the point, Brainchild. Overall a very solid entry for fans of the early UK progressive rock sound.

Ownership: 1970 RCA Germany (LP). Gatefold. 

No legit reissues exist as I update this post (3/11/25).

9/16/10 (review); 4/3/19 (new entry)

Touch ~ Germany

Touch (1981)

Germany certainly had no shortage of bands influenced by Gabriel era Genesis in the late 70s and early 80s including Neuschwanstein, Ivory, Sirius, and a host of others. The populous nation had a head start on the burgeoning NWOBPR scene that was about to take hold in England. Unfortunately there was little market for progressive music in Germany at the time, and all the bands faded rather quickly. Touch (a band name already used 966 times prior) were yet another band that went for a try. They featured a dominant violinist (from Pell Mell), and his fine playing recalls Hoelderlin's own Genesis phase (Clowns and Clouds specifically). The vocals do resemble the theatrical elements of Peter Gabriel quite well. The instrumental work throughout is above standard, and I'm impressed with the overall production. The use of Moog sequencing is refreshing in this context. There is a fair amount of commercial pandering - yet another harbinger of the ill-conceived "neo prog" aspect of the once promising NWOBPR movement. The compositions are diverse, and well thought out. Fans of early 80s Genesis inspired progressive music will enjoy this one. The instrumental work sells this one for me.

Ownership: 1981 Cain (LP) 

No reissues exist as of 3/11/25.

10/8/13 (review); 4/3/19 (new entry); 2/24/21

Pat Cool ~ Netherlands

Daybreak (1973)

Pat Cool were an obscure band from The Netherlands that released only this one album. Overall their music could be described as jazz influenced progressive rock, very much from the Dutch 70s school. The group is comprised of two keyboardists, flutes, bass, and drums. The clear leader of the band is Gé Titulaer, who not only provides the distinctive lead vocals, but also is one of the keyboard players (Mini-Moog, Hammond Organ, and Fender Rhodes), not to mention his extensive use of recorder and Chinese flutes. There are some long Hammond organ jams here, for fans of the instrument like myself. A quote from an online Dutch Encyclopedia tells us "...and the voice of Gé Titulaer is very prominent also". This would have to rank as one of the all-time great understatements. It's quite apparent to me that he was trying very hard to emulate a one Tom Jones, which is... interesting. So I'll offer another great understatement: His voice is an acquired taste. Overall a very solid Dutch progressive rock album, with jazz and lounge undertones - and a disorienting voice (for the genre). Worth investigating.

Former ownership: 1973 Delta (LP). Acquired in 2011.

No reissues exist as I update this post (4/7/26).

3/27/11; 4/3/19 (new entry)

.

Other Music ~ USA ~ San Francisco, California

Incidents Out of Context (1983)

Other Music were a band from Marin County north of San Francisco who managed to put out two albums before splintering. To date I haven't heard their debut Prime Numbers but Incidents Out of Context is a fine example of World Fusion and experimental music. A mix of systems electronic music, Asian ethnic scales/instruments, unusual tuned percussion, classical chamber music structures and.... fuzz guitar. This latter element just slays me every time, especially in this context (so to speak). One of a kind, that's for sure.

---

In 1998, yours truly had a four month long-term consulting engagement in Manhattan. The gig was in Soho on the edge of Greenwich Village and my hotel was in Chinatown / Little Italy. Not only did I eat like a king, but at least once a week I'd work off the meal by taking a brisk 20-25 minute walk up Lafayette to Other Music, one of the great "hipster" stores that featured all kinds of our style of music. I have often wondered if they arrived at the store name via this San Francisco based group - an album they most assuredly would have found somewhere during the 1980s or early 90s (as I did).

Former ownership: 1983 Flying Fish (LP). Acquired in 1993.

Not reissued as I update this post (4/7/26).

1993; 4/3/19 (review / new entry)

Lard Free ~ France

Gilbert Artman's Lard Free (1973)

I'd longed struggled with the debut album from Gilbert Artman's Lard Free. Having already digested the superb I'm Around Midnight and Lard Free III, the debut was cut from a different cloth, one not so much to my liking. To this day, I'd submit it's the weakest of the three, but on reflection there's still much to admire. One thing that becomes apparent here is that Lard Free were still working with a jazz background. And free jazz at that, a style I'm not ever likely to warm up to. So the opening songs reflect that, though the raw guitar is very appealing in this setting. Side 1 would have fit perfectly on the Futura label. It's not until Side 2 that the band demonstrates an early version of the sound that Heldon adopted just one year later. Brooding electronics, and searing atmospheric electric guitars and calming-the-nerves smooth saxophone. 'Livarot Respiration' has this wonderful late night jazz groove - as found in the Twilight Zone. Overall a good one, but not necessarily representing the sound Lard Free are most known for.

Ownership: 2008 Captain Trip (CD). Papersleeve gatefold. Acquired in 2019.

First copy: 1973 Vamp (LP). Acquired in 1994. Sold in the mid 90s.

1994; 4/3/19 (review)

I'm Around Midnight (1975)

Whereas the debut tended towards noisy electronics and free jazz, Lard Free on the follow up I'm Around About Midnight brings in no less a luminary than Richard Pinhas, and subsequently turns out a Heldon styled nightmare (and that's a very good thing). Pinhas' tortured bluesy guitar and down tuned Moog are in abundance, and the whole album sounds like a long lost Heldon album from around the time of Agneta Nilsson. Perhaps with a touch of Artman's future project Urban Sax on display. A splendid album of electronik musik. As well, I enjoy the late 1940's era Pigalle District artwork.

Ownership: 

1975 Vamp (LP). Gatefold. Acquired in 1994.

2008 Captain Trip (CD). Papersleeve. Acquired in 2014.

1994; 2/15/03; 1/3/14 (review)

Also own: Lard Free III.

1/3/14 (new entry)

CMU - Space Cabaret. 1973 England

Space Cabaret is very different from its predecessor. And, truth be told, this sophomore effort is like two separate albums. All of Side 1 was written by newcomer Richard Joseph. For years I had rejected this side as being somewhat average. In reflection I've warmed up to it quite a bit. It's a type of psychedelic folk. But with Larraine Odell's celestial voice, and trippy effects throughout, it actually works quite well. So one will hear 5 quality well-written psych-folk-pop tunes. But it's so very different from what is to follow.

Side 2 opens with 'Dreams', and is the only composition written by guitarist Ian Hamlett. A brilliant track, that is highly progressive with a dark undertone. They should have let him write more. Here's where Larraine Odell shows she is a great female singer - in the big leagues with Linda Hoyle.

But the real monster of a song is the closer 'Lightshine'. And sure enough, it is the only composition written by Leary Hasson. You may recognize the name Hasson, as he's the grand master of Marsupilami, one of my all time favorite bands. He joined CMU only for Space Cabaret, and sadly only wrote this one song for them. This could have been on Marsupilami's 3rd mythical album! Hasson may be one of the best progressive rock songwriters ever. It is absolutely brilliant in every way, from the construction of the composition, to the type of sounds generated (fuzz guitar, crunchy organ). I had goosebumps and hair raising moments throughout the whole thing. The moment when Odell first begins to sing is something really special. I just falloff the chair every time in amazement. There are over 10 movements here, each segue's brilliantly into the other. It starts in more folky realms (think side 1) and ends in the finest Canterbury tradition with pounding fuzz keyboards and searing electric guitars. At age 54, I'm willing to say this one song is in my Top 5 ever. Honestly, one is left speechless. I fear it's a track no one pays attention to, as it's so much different from the rest of the album. Unlike anything really...

So what happened to the Odell couple? They went onto to form one of London's most famous early 1980's disco groups in Shakatak (pronounced Shack Attack). There's plenty of vintage YouTube videos of the band out there for you to check out (be sure to find the vintage ones from the 1980s, not the modern renditions). If you do check out the videos you may be asking who is that 80's big-haired blond girl? No, that's not Larraine Odell (who doesn't appear to actually have been in the group long, though Roger is indeed the drummer), but rather Jill Saward - of ... ready for this? Fusion Orchestra (another favorite band)!!! Jeesh, who knew?

As for Leary Hasson, this is the last known written composition from him. Where did he get the inspiration? He was so far ahead of the pack, and yet no one knows who he is. Completely forgotten. One day that discovery will be made. One day.

Ownership: CD: 1993 See For Miles. The above also includes all of their earlier album Open Spaces (1971) save one track. Includes full liner notes as well. Excellent CD.

The Mandrake Memorial - 3 Part Inventions. 1969 USA-Pennsylvania (archival)

3 Part Inventions was originally to be the album that followed Medium, The Mandrake Memorial's sophomore effort. This second album is where the band's interest in experimental music began to take hold. So much so, that founding member Micheal Kac bolted from the scene (amicably I might add). Traveling to London in the summer of 1969 to record, The Mandrake Memorial seemed on the verge of releasing their breakthrough album. But the producer, the well known and respected Shel Talmy, thought their brand of music to be hideous and quit. That left the band on their own, without any support of the British music unions, to finish what they started. Once complete, a couple of publications announced the imminent release of 3 Part Inventions.

Of course that never transpired. The label wanted them to rerecord the album, which they dutifully did, and that lead to their final effort Puzzle. In retrospect, it's hard to argue with the label here. The album doesn't really gel together. It's a set of disparate ideas and it's not crisp at all. As an archival album, however, this disparity works completely in its favor. We're hearing a band at the vanguard of music that only groups such as Pink Floyd were exploring back then. The blueprint for Krautrock honestly.

The first 3 tracks all would end up on Puzzle. I didn't compare them to the album proper, but here they seem like 3 random songs that fly by without notice. The album begins to come together on the excellent previously unreleased 'Part of My Dreams'. Here's where the Pink Floyd references start to come out. The primitive synthesizers and trippy tones are what makes this era of music so special. 'Wouldn't You Like It?' was also unreleased, and as the band notes later, should have been the hit single of the album. 'Bucket of Air' of course is the landmark track from Puzzle, from an experimental point of view that is. This version, which I'm sure is different than Puzzle's, is quite excellent as well. You could just picture these guys in front of some strobe-light film extravaganza in Berlin circa 1970. 'Witness the End' comes from Medium, but is a new tripped out version. These latter duo of tracks were to make up Side 2 of 3 Part Inventions. Way ahead of their time. The Mandrake Memorial are far more cohesive than a band like fellow Americans' Friendsound, but the music has this similar go-for-broke attitude.

That concludes the album itself. There are two more tracks thrown on, an unreleased version of 'Cassandra' and 'The 12th Brigade' a track that was left off of Medium. Too bad on the latter, as it's quite excellent psychedelic rock.

For fans of Puzzle era Mandrake Memorial, 3 Part Inventions is a must pick up. Otherwise it's probably going to be too "out there" for fans of just their earlier material.

CD: 2016 Flashback (UK)

The CD booklet has an encyclopedic amount of info regarding the full history of the band. Though oddly only a small fraction is dedicated to the 3 Part Inventions portion of their career. Also has photos, concert posters, that sort of thing. The album is taken from the original masters reel. Essential for fans of the band.

The Human League ~ England

Dare (1981)

One of the more interesting historical tidbits about The Human League is that band leader Philip Oakey thought 'Don't You Want Me' was a very poor choice for a single, argued against it, and thought it would be ruinous for their reputation. Well so much for that! Just goes to show you about musicians and their respective judgement of their own material. Personally I think it's a brilliant 2 minute song, and represents perfectly the era in which it was released. Except... at 4 minutes it's about twice as long as it needs to be. Seems they should have added one or two more ideas there? So maybe Oakey was right - it was a throwaway after all.

Beyond the big hit, much of the album is pleasant, with some very nice fat synthesizer textures. Nothing is as catchy of course, and there's not much experimentation either. Yet another "high school soundtrack" album for me. A nice harmless way to spend 40 minutes.

Former ownership: 1981 A&M (LP). Gatefold

3/21/19 (review / new entry); 5/6/25

Sting - The Dream of the Blue Turtles. 1985 England

Sting, Gordon Sumner by any other name, was something of a ubiquitous presence during my high school years. Truth of the matter is I was quite fond of The Police back then. One of the better of the mainstream New Wave bands of the day (we didn't have all these other terms/genres like today - everything with this type of sound was called New Wave).

The Dream of the Blue Turtles was released in the summer of 1985. Yea, that's about the nadir year for mainstream music right there. I remember the album when it was released (I was halfway through college), and thought the title very interesting. For myself, probably as a reaction to all the crap the radio was offering, I was really starting to deep dive into genres like Euro prog rock, Berlin School electronic, Krautrock, while maintaining a healthy love for thrash and other kinds of inventive metal. I never heard the album all the way through back then, why would I bother? But since it's here, let's give it a whirl shall we?

The only song that registered in the memory banks was 'If You Love Somebody Set Them Free'. I thought it kinda blew back then. 34 years later... it still blows. The title track, all 1+ minute of it, is an intriguing out-of-place jazz piano piece. Otherwise, wow, this album is really boring. There are no hooks, or any of the magic songwriting Sting brought to The Police. The album is so sterilized you could lick it for days without worry. You just want to go to a garage somewhere and roll in motor oil for awhile. The whole thing screams the Live Aid era. I could go a lifetime not remembering those days.