Embrace ~ Canada ~ Toronto, Ontario

Coven the Eternal (1996)

I love discovering albums such as Coven the Eternal. Especially these 1990s albums that were released to an audience of no one in particular. Completely under the radar, without hype or praise to be found anywhere. Embrace were a band from Canada who are ostensibly part of the doom metal genre. The music is primarily slow paced, with female vocals and even some atmospheric keyboards. And crunchy metal guitars of course. The cynic in me says that doom metal is a great entry point for those still learning to play their instruments. But it's this kind of amateurism where the allure lies. Especially in the composition department, as who the heck knows what they will come up with, even if it's within the tight confines of the genre. Embrace are sincere, but not overly earnest as some of the more unintentionally comical metal bands can be. Something to be proud of years later to share with your kids and grandkids ("wow Grandma was a total subversive!"). There's nothing here that screams must own, but if it happens to waft by on some random sale list, grab it - especially if bands such as Saint Vitus and Candlemass are to your taste.

Ownership: 1996 private (CD). Acquired in 2019.

11/28/19 (new entry / review)

Arch / Matheos - Winter Ethereal. 2019 USA

One of the most exciting concepts on the theory of a multiverse is the idea of parallel lives in different worlds. John Arch and Jim Matheos give us one example of that - in a single universe. When John Arch left Fates Warning in 1987, the band chose Ray Alder as their front man and continued on their path, that continues to this day (very successfully I might add). Fast forward to 2003 and Arch and Matheos reunite again. Then in 2011 the partnership grew into an operational recording, though not touring, concern. It's remarkable how much this duo have been able to maintain the Awaken the Guardian sound, but pushed forward to our current day. It's as if Matheos has successfully been able to alter one path of his life in a delayed fashion.

Well there's really not that much else to say here. I've always enjoyed Fates Warning's rough-around-the-edges approach, as compared to the Berklee trained Dream Theater school. So if you are a fan of the classic early Fates Warning composition - and vocal - style, and are curious where it could have ended up - you have your answer here (and with 2011's Sympathetic Resonance, which is arguably even better).

CD: 2019 Metal Blade

CD comes in a fine digipak with a full booklet that contains lyrics and photos.

Spring + Spring 2. 1971 England

If there was ever an album that confused me on what the term "progressive rock" meant, it had to be Spring's sole effort (sans later bootlegs of course). What do I mean by that? Ah yes, quick context setting for those reading this. In the 1980s, as a young lad hungry to hear everything that was labeled with the almighty "progressive" tag, I can assure you that Spring was very much at the top of every catalog writers' best-of lists. THREE MELLOTRONS!! TRIPLE FOLD OUT COVER! LONG TRACKS! My imagination went wild. Then I got hold of some crappy bootleg LP that I no doubt paid way too much for (even then, originals were way beyond my pauper budget). You won't see that boot LP listed in too many places (good!) but it came out in the late 80s. Dull single sleeve. Dull vinyl. Dull music. Well... that's how I heard it anyway. Bootlegs are never a good way to learn about an album (lesson learned for a young Genius Hand), but this one even went beyond the sloppy sonics. As in - exactly what is "progressive" about this? My cynical nature was coming to the fore - more like 3 people who play the mellotron - not 3 mellotrons (which is probably a true observation actually*). Big deal! Not a time signature change in sight. Whoopdee-doo. *- in fact, as the Esoteric CD liner notes point out, my observation was indeed correct.

So what changed? Me, of course. Years of spending time with the original late 60s / early 70's progressive movement has provided me with the right context for which this album had originally come from. Now I hear something that was considered progressive in 1971, but maybe not what the term meant to me by 1988. Spring features some fine songwriting, and wonderful textures (mellotron of course, but even the fuzz guitar and organ too). Even Pat Moran's infamous nasal vocals sound good to me now! If you're a fan of the Dawn / Neon / Transatlantic / Deram branch of early 70s English progressive rock, then no doubt Spring will be a welcome addition.

As it turns out, that is not the end of the Spring story. The archival second album from Spring is not well understood. Its very existence in the marketplace for many years was in the sole possession of pirates, and thus few knew the story, or heard the album properly. As one will find out seeking this album, all of the first releases are nonsense, lining the pockets of those who see no particularly good reason to pay licensing fees and royalties.

Finally in 2015, the good folks at Esoteric released the album in full, as a bonus album to the debut - the perfect way for tapes such as these to be issued. It is now with the story in hand, that we learn why Spring 2 sounds the way it does. In effect, the group was looking to move towards jazz rock, though there was resistance from within. In particular, guitarist Ray Martinez wanted to maintain the progressive rock course they had started along. As is usually the case with innovative bands in the early 70s, their recorded output translated well with critics, but not with buyers. All of this lead to frustration and conflict - and Spring had sprung.

These recordings - also from 1971 - demonstrated where the band was headed. To my ears, the group's sound actually sounds older here, something akin to a 1969 or 70 jazz rock sound. The mellotron has been diminished considerably and the organ is pushed up front. I find it just as enjoyable as the debut, though admittedly they do sound almost like two different bands. There's a bit more pop sensibility this time around as well, and Spring proved to be adept at that as well.

The songs presented here are of variable sound quality, as they were culled from different sources. Some no doubt from the very bootlegs listed here. It's worth noting that save 'Hendre Mews', all the track names are slightly different to what was previously understood to be the case.

Ownership: LP: 1971 Neon. Incredible triple fold out cover. Online acquisition (2024).

CD: 2015 Esoteric. Jewel case. Full set of historical liners.

I started in the 80s with a (gasp) bootleg LP and didn't like the music - at all. I tried again with the Laser's Edge CD in 1992 and sold it quickly as well. With the attainment of the original LP, I'm letting go of the Akarma triple FOC reissue.

1988 (first listen); 1992; 9/18/13; 11/28/19 (review/new entry)

Collegium Musicum - Collegium Musicum + Konvergencie. 1971 Slovakia

Collegium Musicum were from the former Czechoslovakia - now Slovakia - and were one of the earliest adopters of progressive rock in the region. Though from behind the Iron Curtain, where experimentalism was often discouraged, Collegium Musicum turned out to be one of the more wigged out acts from anywhere, anytime. You'll often read the band being compared to groups such as The Nice and Ekseption, but I'm not quite sure which albums by these bands they are hearing. Yes - of course - rocking the classics is more or less the basis for the group's compositions. But it's hardly cuddle up to the winter fire classical music. This is Shostakovich in a bad mood accelerated to 1970.

The debut is certainly the more predictable of the two albums, and can be a bit trite in places. But it's still radical with its long form jamming. Konvergencie is where the band releases the horses from the barn. Here's where the group recalls western European contemporaries such as Trikolon or Elluffant. And in more modern times, the band Steamboat Switzerland seemed to borrow the blueprint from this very album.

The 2 CD set from parent label Opus also includes the bands first single (which is 14 minutes in length (!)) 'Hommage à J. S. Bach' is a good representative of the debut album, whereas 'Ulica plná plášťov do dažďa' is arguably the best composition of the entire set. Here Collegium Musicum demonstrates their ability to be a more compact prog rock band.

Not an easy listen, and not always satisfying, but from an historical perspective it's quite extraordinary.

Ownership: CD: 1992 Opus. Purchased online in the late 90s. Great 2 CD set that includes all of their first 2 albums plus the aforementioned single. One interesting tidbit about the cover (shown): Note the cigarette - which is not found on the original.

11/28/19 (new entry)

Harmonium ~ Canada

Les Cinq Saisons (1975)

Harmonium's second work is quite simply one of the most beautiful albums ever made. Though almost entirely acoustic, save some electric bass and mellotron, it never occurs to me to label this album anything but progressive rock. One would presume it to be part of the multiple folk genres out there, and yet the compositions are complex and they unravel similar to our favorite bands in the progressive genre. As most folks will point out, the only blemish is the short 'Dixie'. It's not a bad track at all honestly, but it doesn't fit the mood of the album. One listen to the opus 'Histoires sans Paroles' should hook you on Les Cinq Saisons for life.

You would be hard pressed to find an album that better represents the contents within than the gorgeous gatefold of Les Cing Saisons. It was also a tremendously popular album in Quebec, so originals are still affordable to this day. As such, if you are looking to build out an original progressive rock LP collection, this should be one of your first purchases. 

Ownership: 

1975 Celebration (LP). Gatefold. Fold out lyric insert. Acquired in 1988.

1991 Polydor (CD)

1//88; 10/11/19 (review)

Also own: L'Heptade

10/11/19 (new entry)

Zior / Monument - Before My Eyes Go Blind: The Complete Recordings. 1971; 1973; 2018 England

Zior have something of an image problem. One cannot read about this band without hearing terms like "super heavy", "Black Sabbath", and "people were afraid of us". With that sort of prelude, anything that falls short of the heaviness that Black Sabbath provides is likely to disappoint. And they do... at that level.

That's not to say that Zior doesn't rock out. In fact, they can be at times like a proto Judas Priest - perhaps like Rocka Rolla, but with more urgency just as Priest would later do themselves. If it were only that, then I'd submit Zior would be held more in high esteem today. But they had that gnawing bad habit of throwing in boogie and pub rockers - crowd pleasers as it were - though to be fair that was the expectation of the time. Bands like Black Sabbath, Uriah Heep, and Deep Purple were wise to steer clear of that temptation, thus adding to their reputation today.

Grapefruit's (a sublabel of Cherry Red) 4 CD collection gives the buyer everything you could possibly want from this band - and more. The debut - with the negative image cover, and yet another try for Black Sabbath fame - is the album that disappoints the most, though it's still very good in aggregate. Every Inch a Man (there's a title that doesn't play well in these feminine times) is actually their 3rd album, and not released until 1973 (Germany only), unbeknownst to the band for many years! The music here is similar to the debut, but a bit more consistent and heavy.

Monument - the second Zior effort - is the pick of the litter here. Basically the band found themselves on hard times, and the owner of the Beacon label offered them some fast cash if they would make an album the very next day. It was an above board deal, and the band delivered as promised. Since they were under contract elsewhere, the group all took on pseudonyms plus a new band moniker. The music here places the organ more up front, and the compositions (for a lack of a better term) are less commercial and heavier on the whole.

And that was pretty much it for Zior. Until 2018, when half the band reformed for a new album. Spirit of the Gods is a weird reformation album. It's not retro, but it's certainly not modern/commercial either. The album opens with a church organ, so it would seem they were going to be earnest in their attempt to recreate the past. But not really... there's quite a bit of modern electronics here, almost ambient at times. I expected the guitars to be metal, but they avoided that temptation sticking to an early 70s hard rock tone. As a 4th disc to a box set, it's an excellent addition. On its own, one should probably take a pass.

Ownership: CD: 2019 Grapefruit. The box set itself is really great. There's a full booklet with historical liner notes, original artwork, photos, posters, the whole bit. Every Inch a Man had only been reissued prior as a "gray area" pursuit, so this is the first definitive reissue of that album. Which makes sense since the original was released under the cover of darkness as well. And though Spirit of the Gods appears to have been privately released on CD, I could not find evidence of it anywhere. But as noted above, this box set would be the best way to obtain it in any case.

Solstice ~ Canada ~ Quebec

Mirage (1978)

Solstice's debut is a typical dime-a-dozen instrumental fusion with all the ingredients expected. Hard to avoid albums like this in the late 70s. The gimmick here is the lead clarinet. The only thing this album has in common with Camel (as is often purported) is the title of the album.

Reissued with their second album Espresso in 2010 on the Take 5 label from Switzerland.

10/6/19 (review / new entry)

Red ~ England

Red (1983)

Red's sole album was released among all the other New Wave of British Progressive Rock albums, what would later be called Neo Prog. But Red were nothing like IQ, Twelfth Night, Marillion, Haze, LaHost, etc... nor were they like mid period King Crimson as their name might indicate. Nope, this is a very strong instrumental fusion oriented album, with some early 80s keyboard sounds. What separates this album from the pack is the ferocious guitar playing, and the outstanding melodies. Another trademark is the constantly moving compositions. It's remarkable just how progressive this album is, even though it sits just as comfortably within the jazz fusion genre. A real gem, one that still remains quite unknown.

Ownership: 1983 Jigsaw (LP)

No reissues as of 3/24/25.

8//84; 9/15/19 (review / new entry)

Shampoo - Volume One. 1971 Belgium

Shampoo were a band from Belgium, who released this one album before dispersing. Though not as revered as many other bands from this classic era, they just happen to play in my personal favorite style. That is to say - jazzy psychedelic progressive rock. Shampoo are in the same genre as Hot Rats era Zappa, Moving Gelatine Plates, Xhol Caravan, and Mad Curry - the latter of which the band obtained the majority of its members from. Throughout, you'll hear plenty of sophisticated ensemble work, with energetic solos (love the electric sax work), and psychedelic dreamy vocals. Not all is a success (the opening straight-up psych track; the overlong drum solo on Side 2), but still worthy of your attention. Overall it's a product of a much missed period in music history.

LP: 1971 Motors (France). Day-glo pink gatefold cover. Online acquisition (2000)

There's some disagreement on the date of release. Here's what I wrote for Discogs: "Looking at our LP copy. There's a stamp inside the gatefold: 17 Nov. 1971. There's also a sticker on each label side: JB 17.11.71. Have to presume that was the receipt date for the original owner (we purchased this copy in 2000). 1971 is also a date used by many other sources going back before the internet (not all sources of course). These data points have lead to the change here. There is no date on the LP itself. We're not seeing any corroboration for the 1972 date on this entry, so moving to 1971 unless other concrete data -emerges." (1971 was later corroborated by another user).

Recently learned (6/5/24) that this album was reissued on CD by a legit label called HKM.

2000; 8/2/09; 9/14/19 (new entry)

Mr. Brown - Mellan Tre Ogon. 1977 Sweden

Mr. Brown, on their sole album, draw deep into the Pink Floyd well ala Wish You Were Here and Animals. Though from Sweden, Mr. Brown seemingly looks south toward the German bands of the day such as Jane, Eloy, Pancake, Fly, and Shaa Khan. The English vocals are too maudlin, but the native Swedish ones are quite nice (unfortunately too infrequent). The stylistic brush here is pretty broad and it gets thin by the end. A good album, but one to hear after you've digested hundreds of others in a similar vein.

Psiglo ~ Uruguay

Psiglo II (1974)

Psiglo II picks right up where the debut left off, with a noticeable production improvement. The muddiness of the debut is mostly absent here (though still far from perfect), and the guitar solos have more bite. As with the debut, Psiglo have a certain outlook similar to the Italian scene from the same era. So for this album, Psiglo starts off in a more conservative manner and track 2 'Construir, Destruir' is squarely in singer songwriter mode (complete with flute). Track 3 'No Tiene Razón de Ser' appears at first to be going into the same direction, but it's a head fake and begins to introduce more complex ideas. From here on out, this one has it all for progressive rock fans - dizzying tempos, inventive structures, psychedelic instrumental sequences, dozens of ideas. Final two lengthy tracks are near masterpieces! Psiglo II is more classic Italian sounding than, for example, Argentina's Los Barrocos, a band they share many similarities with.

Psiglo's second album was originally recorded in 1974 in Argentina, escaping the repression from their home base in Uruguay. Argentina was no bastion of freedom either, and the album remained in the vaults until 1981, where a small pressing eked out in Uruguay before being erased from the market landscape. As such, originals of the second album are rarer than the debut. The album was finally rescued in the 1990s by the CD age - with no further restrictions from more tolerant political regimes.

Ownership: 1997 Record Runner (CD)

2006; 2008; 8/12/12; 9/1/19 (review)

Ideación (1973)

Psiglo's debut starts out in a rather typical fashion for the 1960s (noting this it is from 1973), with straightforward blues based psych rock tracks and hippie styled vocals (in Spanish). 3rd track 'Catalina' is a pleasant ballad with organ and orchestration. By track 4 'Vuela a mi Galaxia', the drugs must have kicked in as the band experiments with wild sounds on the organ and guitar. Not to mention the phasing and other studio effects. Side 2 opens with the instrumental 'Nuestra Calma' and perhaps not surprisingly is the highlight of the album. Album ends on a fine note with the aggressive Deep Purple styled number 'Piensa y Lucha'. Overall the album reminds me somewhat of the very early Italian post-psychedelic / pre-progressive bands like Il Balletto di Bronzo on Sirrio 2222, Formula 3's Dies Irae, or maybe Gigi Pascal e La Pop Compagnia Meccanica. A short, but fun, album. BTW, the missing track on the CD is currently on YouTube, so be sure to check it out if you haven't heard it. It's a varied piece that combines big band, free jazz, and blues rock to mixed results.

Ownership: 1997 Record Runner (CD). Worth noting that while the Record Runner CD combines both of Psiglo's albums, it does exclude the track 'Es Inútil' from the debut which, at close to nine minutes, is a pity. However it does add the 1972 single 'Gente sin Camino' (6:07), which is arguably a better composition. There isn't enough space to include both unfortunately so they made the hard choice to go with the single. The CD also features all the lyrics, band snapshots and a newly written short essay in English. Acquired in 2008.

2006; 2008; 8/12/12 (review)

8/12/12 (new entry)

Sincerely P.T. ~ Germany

Sincerely P.T. (1973)

Sincerely P.T. is quite an interesting album. It starts out in typical Euro jazz territory, with some soft Rhodes piano and horns. But... as the best albums always do... the album gets freakier and freakier as it goes. There's plenty of wiggy fuzzed out keyboards and exotic stringed instruments to digest here. The P.T. stands for Peter Trunk (who plays bass) and he surrounds himself with an all-star cast of underground Kraut jazzers including Sigi Schwab on guitar (Vampyros Lesbos, Embryo), Jasper Van't Hof (Pork Pie) on keys, and Curt Cress on drums among many others. I'd say Schwab has the most influence here musically speaking (especially considering the various stringed instruments referred to above). Overall Sincerely P.T. finds the middle ground between horn rock, Krautrock, and European fusion. An excellent find, the type of album that one would normally hear on MPS for example.

Ownership: 1973 Spiegelei (LP). Gatefold.

No legit reissues have surfaced as of 3/18/25.

3/2/10 (review); 9/1/19 (new entry)

Jan Dukes de Grey - Mice and Rats in the Loft. 1971 England

Truly one of the most innovative rock albums from an era when that was the norm rather than the exception. Comus’ First Utterance is the only band that remotely comes close and that’s because it’s from the same school of insane acid folk rock. A three piece of guitar (mainly acoustic until the final title track where it’s electric), flute and drums with some occasional trumpet, trombone, clarinet, sax and "Zelda Chord" (an organ sounding stringed instrument). Not to mention the madcap vocals… and the whole thing rocks like nobody’s business. Three very long tracks with more ideas in one song than most conjure up in a career. Pure genius.

Ownership: LP: 1971 Transatlantic. Gatefold. Acquired online (2015).

CD: 2005 Strange Days (Japan). Papersleeve edition.

Due to a poorly thought-out design, many originals have damage to the first track on one side or the other (or more). It's a gatefold cover, but with a hard plastic PVC sleeve and a foam edge to store the vinyl in. Over time, this foam will chemically react with the vinyl to create permanent damage to the grooves. And the PVC sleeve is no friend of vinyl either. I lucked out with my copy. The PVC sleeve had jarred loose causing the vinyl to move away from the foam. So the only damage I have is in the dead wax not the music (whew!). Of course now I have it stored in an audiophile sleeve. As such, I have a more valuable copy than usual.

My introduction to the album was via the crappy Poor House cd-r (2001). Hard to believe we actually paid good money for those back then!

2001; 3//05; 9/1/19 (new entry)

Vita Nova. 1971 Germany

Vita Nova were an international trio based in Munich, who’s sole album was released in Austria. Featuring Eddy Marron (Dzyan) on guitar, who frequently plays with a psych edge. Also plenty of great fuzzed out Clavinet, Hammond, and pipe organ provided by Sylvester Lavay. Truly inventive rock with no real obvious comparisons. Vita Nova could be seen as the followup to Os Mundi’s psych influenced Latin Mass album.

The liner notes reveal perhaps the biggest surprise: That Lavay was behind the mid 70s disco group Silver Convention, best known for their hit 'Fly, Robin, Fly' among many others (and a group, by pure happenstance, that we just featured recently here on UMR).

CD: 1995 Penner

The above features 2 bonus tracks that were to be released as a single but never materialized, and are of the same high quality as the album proper.

Tomorrow's Gift ~ Germany

Goodbye Future (1973)

Goodbye Future is Tomorrow's Gift's second album and completely different than the debut. Gone are the female vocals, heavy guitars, and general Krautrock proto prog 1971 mayhem, and in its place is a keyboard centered Canterbury styled album. Not too far from same period Supersister (think Pudding En Gisteren), especially considering the additional and obvious Frank Zappa influence. It's a very satisfying album on the whole, and yet it feels like it should have been just that much better.

Tomorrow's Gift later evolved into the fusion oriented Release Music Orchestra. They also participated in the long-past-its-shelf-life Krautrock psych band Dennis as well.

Ownership: 1973 Spiegelei (LP). Gatefold with die cut cover. Acquired in 1988.

Not reissued on CD as of 7/24/26.

1988; 9/1/19 (review)

Tomorrow's Gift (1970)

Tomorrow's Gift's debut is a great example of the hard driving, proto progressive sound that flourished throughout western Europe in the early 1970s. Most of these bands featured husky female vocals in the Grace Slick or Janis Joplin manner and for instrumentation the leads were flute, guitar (usually played in a loud acid style), Hammond organ and sax. It's one of my personal favorite sub-genres of music. Some other examples of bands that play in this style are: Affinity, Fusion Orchestra, Delivery, Goliath (UK), Sandrose, Mad Curry, Julian's Treatment / Julian Jay Savarin, Circus 2000, Analogy and many more.

My only complaint is the overlong four minute drum solo that closes Side 2 (of 4 sides). But otherwise a corker.

Ownership: 2012 Second Battle (2xLP). Gatefold. Acquired in 2012.

First copy: 1991 Second Battle (CD). Acquired in 1992.

1992; 2/3/10 (review)

2/3/10 (new entry)

Silver Convention - Save Me. 1975 Germany

One of my favorite music trivia tidbits is that the leader and founder of Silver Convention was a gentleman named Sylvester Levay. What was he doing 4 years prior? He happened to be a member of one of the more underground Krautrock bands of 1971: Vita Nova. Clearly an enlightened businessman, he traded art for jack. One cannot blame him for this...

I was all of 10 when 'Fly Robin Fly' was a hit. I was just beginning my foray into music, and of course AM radio was my entrance point. Honestly, it was one of my favorites at the time, perhaps only bested by The Bee Gees 'Nights On Broadway'. And listening to this album again, the song certainly is quite good. Repetitive yes, but still satisfying.

The liner notes on the back of the US release states more or less that Silver Convention represents a new generation of artists looking to break from what is perceived as "German" music. Whether they were referring to Faust or schlager music, I cannot say. One presumes the latter...

The music itself is a kind of classy disco, with orchestral strings raising up in constant dynamic shift as the steady disco beat carries on. The trio of gals provide the sultry sounds of the oncoming pervasion (double entendre word of the day) that was to come via the Studio 54 set. 'Save Me', however, makes one want to roller skate (note: skate) along the Santa Monica beach, hoping to meet girls that look like... well, the Silver Convention I would imagine.

The covers are of the US version, which sports different art work. The German original also contains a nude lady poster, similar to a Playboy shot. That would not happen in 1975 America, no sirree.

Synthesis (73) ~ France

Synthesis (1973)

Synthesis (not related to any other French bands named Synthesis) fit squarely in the traditional horn rock genre, similar to many of the US / UK bands of the era. I'd say Synthesis tracks closest to classic early Chicago, and that's a good thing in my book. With song titles like 'Dilemma of My Life', 'Walkin' In the Hell', 'Insanity', 'My Obsession', and the three part closer 'Symphony for a Stranger', I think it's safe to assume that Synthesis weren't aiming for the bubblegum hit parade. The songwriting is top notch, the horn charts are exhilarating, the guitar is fuzz laden / psychedelic, and the energy level is high. And the album gets freakier as it goes, and I've said this a few times before, that's always a hallmark of a great album. As if they said, "Oh screw it, no one will buy this, so let's just GO FOR IT!". Yea, baby. A bit late in the game for this type of sound but a must for fans of horn rock.

Ownership: 1973 Fabulous (LP). Gatefold.

Not reissued as of 3/12/25

8/4/19 (update / new entry)

Led Zeppelin - Physical Graffiti. 1975 England

I don't think we'll ever see the kind of popularity bands achieved in the 1970s. And Led Zeppelin were at the top of that stack. Too many dynamics, parameters, and options for today's youth to engage like they did back then. Music was often the only game in town, and groups like Led Zeppelin were the megastars of the moment, to never really be surpassed. Even today, we see the bands from the 70s go out up in wheelchairs or stooped over on a cane - and play to a packed arena filled with crowds that look just like them - while bringing their kids and grandkids along for the ride.

1975 was arguably Zeppelin's peak year in terms of popularity. And Physical Graffiti was their grand excess statement. I've been long skeptical of the quality of this double LP set, but in retrospect the band is to be admired for mostly sticking to their patented heavy blues rock sound of the late 60s. Album #1 is exemplary whereas Album #2 admittedly has many holes, but even still at least 4 excellent songs can be found. And 'Kashmir' is a track for the ages, brilliant in every way. Surprisingly not a bloated album, as it might seem on first inspection.

LP: 1975 Swan Song (USA)
CD: 2008 Swan Song (Japan)

A good candidate for the Japanese mini-LP format given the multiple gimmix cover options. My original copy was likely a beat original found in some dusty used store during college, long sold off. Classic Zeppelin shows up in garage sales all the time, only a matter of time before I pick up a nice copy of this as well for all of $2. And if not, no biggee. Need the shelf space.

October 19, 2019 update: And, well, found one at a sale. OK it was $3, but hey!

Slayer - Show No Mercy. 1983 USA

I pretty much avoided Slayer in my youth, as I was never too comfortable with satanic imagery (still not). But like a lot of these early metal bands, it was more cartoonish than serious. Besides Araya was (and is) a practicing Catholic lol. In any case, the music here is fairly primitive, a long way from the competitor's Kill 'em All, but there's much more ideas and thought here than I'd ever expected. Not really thrash at this point, more toward Iron Maiden and Judas Priest actually. Worth keeping.

CD: 2007 Icarus (Argentina)

No better way to obtain these old metal albums than via bulk buy CDs dirt cheap. Folks are giving them away, so sure I'll take them then....

Bloodrock - s/t. 1970 USA

Bloodrock's debut is nothing short of essential hard rock from my old hometown of Fort Worth. I never heard their debut until now surprisingly. Not as energetic as Grand Funk Railroad; not as heavy as Black Sabbath; more gritty than Uriah Heep. That's the sound of the first Bloodrock. About as good as it gets for American hard rock from the early 70s.

LP: 1970 Capitol

Another great garage sale find. And a true original in excellent shape too!