Skin Alley ~ England

Skin Alley (1969)

One of the more unheralded progressive rock albums, Skin Alley's debut laid down the blueprint for what the English scene was to sound like for the next three years. For the subtype of music Skin Alley is doing here - namely flute, saxophone, mellotron, maudlin vocals, guitars, and jazzy rhythms all weaving through complex compositions - one could argue they were first. One year later and bands like Marsupilami, Indian Summer, T2, Goliath, Cressida, Raw Material, and many others would follow suit. Every track here is excellent, not a dud among them. One wonders how this album has fallen through the cracks when lesser others have been elevated. An historical breakthrough and a thoroughly enjoyable listen, this album is long overdue in receiving any kind of recognition. 

Ownership: 2011 Esoteric (CD). Part of a 2 CD compilation called Big Brother is Watching You that also includes their second album, a 1970 single, and an unreleased album entitled Stop Veruschka. Comes complete with full liner notes.

First copy: 1996 Audio Archives (CD). Acquired in 1998.

4/3/98; 1/15/21 (review)

Two Quid Deal? (1972)

For years I passed over this one in the bins. The US Stax copy was a regular buck bin special, and with that ridiculous cartoon rat and cheese cover, it never occurred to me this would be anything worth pursuing. Years later I discovered their brilliant debut and very good followup, but maintained (for no good reason really) that this must have been their sellout album.

And I was right. Except.... Skin Alley were no good at it! You can tell this album is pandering to the early 70s US Billboard charts. You can hear popular bands at the time like Rare Earth in these grooves. But even so, they cannot seem to stop themselves from a full helping of a mid song progressive rock break. It's in their DNA. So while the first three tracks all start out with a bit of concern, it doesn't take long for the band to find their sea legs, and create music similar to their debut, especially on 'Bad Words & Evil People'. I wasn't too keen on 'Graveyard Shuffle' nor 'So Glad', but 'A Final Coat' takes us back to the opening trio of tracks. And 'The Demagogue' is similar. For my tastes the best track is the instrumental 'Skin Valley Serenada' that seems to be the model blueprint for a band like Rousseau for example. A gorgeous flute melody over a happening jazzy rhythm pattern makes this one special. In my opinion, Two Quid Deal? surpasses To Pagham and Beyond in quality. Yes, that surprised me too.

Ownership: 1972 Transatlantic Germany (LP). With poster. Acquired in 2022.

First copy: 2005 Strange Days (CD). Papersleeve. Acquired in 2018.

6/9/18 (review)

6/9/18 (new entry)

Yes - Time and a Word. 1970 England

The older I get, the more I appreciate psych-era Yes - part 2. Once again Chris Squire's bass takes the lead, whereas Banks goes a bit more psychedelic in the solos. And Bruford really shines here, more so than on the debut. The orchestration was probably a bit too much addition, and it's a shame they didn't employ the mellotron instead. One can imagine the instrument being interjected to great results. 'Them' and 'Astral Traveller' are brilliant, and represent two of my all-time favorite Yes songs. Other great tracks include 'Everydays', 'Sweet Dreams', and 'The Prophet'. Great album.

Ownership: LP: 1972 Atlantic. Similar to what I said on the Yes debut entry, right down to the outlet mall CD pickup in the late 90s. These two albums are inextricably linked in my world. In fact I listened to both back to back last night, which I often do. I picked up this LP online in 2016. Single sleeve with lyric insert. It's not the first edition (generally known as the "plum" label), but it is an early green/red label UK gatefold pressing as you can see. Once again, the American censors couldn't handle the original topless lady cover and came up with something... atrocious. 

1/7/21 (new entry)

Yes. 1969 England

The older I get, the more I appreciate psych-era Yes. I'd even suggest I like their first 2 albums better than their much heralded prog breakthrough The Yes Album. The debut has some great songwriting and you can hear Jon Anderson singing in a distinctly British style. Chis Squire's bass is already very prominent and demonstrates his leadership. Love Tony Kaye's old fashioned organ and Peter Banks jazzy solos as well. 'Survival' is the recognized great track here, and I'm with the majority. But there's plenty more to savor including 'Looking Around', 'Harold Land', and The Byrds' 'I See You'. Excellent album throughout.

Ownership: LP: 1971 Atlantic (UK). Gatefold. Second pressing, first with the green and orange label. Recent pickup (2022) from the Denver Record Show from a well known record shop in the area. Interestingly enough I'd never owned this on LP prior. Back when I first discovered Yes as a young teen, I bought Yesterdays on LP, and that ended up being the representation of the first 2 albums until the CD era.

The first CD I owned was a mass produced US release picked up at an outlet mall in Commerce  (Los Angeles area 1997). Long sold off.

1997; 1/7/21 (new entry); 10/11/22 (LP acquisition)

Shiva ~ England

Continuance (1983 / 2004)

I've spoken about Shiva's sole album before (see below), as I found it to be one of the NWOBHM's more intriguing releases. A combination of heavy metal and Rush-like textures and more complex songwriting. The aptly named Continuance was ultimately meant to be the second album. The label (Heavy Metal Records) were struggling financially - as were the band - so things weren't going too well to begin with. After recording the first five centerpiece tracks found here, they excitedly played them for the label, only to be rejected. Not "heavy" enough they claimed. Ha! There's a twist from the usual not "commercial" enough. In hearing this, the label wasn't wrong, if heaviness was to be the deciding factor. If anything, Shiva had honed their songwriting skills and offers up more ear-friendly tracks. But the key ingredients of Firedance remain, that of the complex breaks and extended guitar soloing. I've read some counterpoint reviews stating that Shiva really weren't influenced by Rush. Listen to the 9+ minute 'Eden (Silent Running)' and get back to me on that. These guys have Permanent Waves and Moving Pictures written all over them, minus the synthesizers of course. Filling out the disc are two more demo tracks featuring a different drummer, and five other demos from various parts of their career - all from the earlier days. I found most of these just as good as their "two" albums proper. So if you're a fan of Firedance, you'll want this too. If unfamiliar with Shiva, then start with Firedance and go from there.

Ownership: 2004 Majestic Rock (CD). With booklet containing lyrics and a full history in microscopic print crammed onto 2 pages. With a normal font it would have been 8 pages I think! Acquired in 2021.

1/5/21 (review)

Firedance (1982)

---1/6/14

I'm such a sucker for the older NWOBHM bands, before they felt compelled to be in lockstep with the "scene", and here they just sort of made things up as they went along. Very much like my favorite progressive rock bands of the early 70s. Has more of a Rush influence than usual for a UK band from this era. There's some commercial stuff here that keeps it from a higher rating (especially on Side 2), but it's still a great listen. It'll probably grow on me over time (and it has!). File this one in the innovative early metal category next to Legend (UK), Diamond Head, Sacred Blade, and Manilla Road.

Ownership: 1982 Heavy Metal Records (LP). With lyrics. Acquired in 2020.

First copy: British Steel Russia (CD). Pirate. Acquired in 2014 (was supposed to be the original CD, but I got gypped). Replaced with the above.

1/6/14 (review); 6/11/20 (update)

6/11/20 (new entry)

As Is. 2000 USA-Florida

As Is (a name that is impossible to research) were a band from the Orlando area who released this one album before calling it a day. The album was sold to me as such (paraphrasing) "1976 archival prog metal from Tin House". I couldn't find it in either Discogs or RYM, so I pulled the trigger. Just as I enjoy finding unknown vinyl, I also love digging for unknown CDs. That was the original premise of the Under the Radar CDs blog over 10 years ago, before I repurposed it.

10 seconds into this, and I knew it wasn't from 1976. This is no analog recording and those synth patches scream the 90s. Which would explain the lack of any kind of history in the liner notes. In fact, the entire sales pitch was misleading. Do I think the seller purposely misled me? Nope, not at all. The 1976 part can only be considered some sort of miscommunication or misremembrance. Is it prog? No. Is it metal? No. Is it related to Tin House? Sort of - but not the 1971 version of the band. Tin House had a reunion and released their own obscure follow up in 2009. The guitarist for the resuscitated Tin House was a one David Mikeal, and he was the leader of As Is. And that's who the seller obtained this directly from. As for the musical style indicators, that can be chalked up to the seller's own background. For years, I watched psychedelic sellers refer to anything with a keyboard as progressive rock. And likewise, anything that has a slightly fuzzy guitar tone gets labeled as metal.

So what is As Is (so to speak)? Hard rock with AOR aspirations. They were part of the AOR revival scene that was active back in 2000 (and I'm sure still exists in some form or another). They were bringing back 1980 era FM radio. Melody and choruses, with hard rocking guitars and some extended ideas. For what they set out to accomplish, it's quite good. Mikeal does lay out some good licks and solos, and the remainder of the band fills in quite nicely. Most are singers too, so vocals play a key role, but do not dominate. This is not a field I have much experience with (retro hard rock/AOR?), so I'm lacking in comparisons. It really doesn't sound like a band from 1980 because of the modern instrumentation, but musically it could be tied to any number of groups like Saga, Toto, Styx, Blue Oyster Cult, etc... So while I was disappointed the album didn't match the intended premise, I'm certainly pleased to own this. Probably wouldn't have sought it out on its own, nor am I clamoring for more of it, but there's a place here in the collection for As Is.

Ownership: CD: 2000 private. Recent online acquisition. Jewel case with booklet containing lyrics and recording details. Very homemade looking. The photos on the back of the booklet do like they are from the 70s, so that could be where the seller got the idea. But its intention is probably more scrapbook related.

Twenty-Five Views of Worthing. 1972-1973; 1977 England (archival)

Twenty-Five Views of Worthing were like a lot of bands in the fertile early 70s - plenty of opportunities for live gigs, but no time for a proper recording. There were so many musically intriguing groups in those days, it was difficult to get noticed. And even when you did, such as the case with Twenty-Five Views of Worthing, the labels would often put you on the backburner. Had the band come around a couple of years earlier, most assuredly they would have been familiar to us all now. But by 1973, when it was show time, the label lost interest in their shiny new toy. They wanted more commercially oriented music that would sell copy, not another artistic band loved by the critics but the general populace could care less. That label in this case was Island, they of King Crimson, Traffic, and Jethro Tull fame most prominently (in the prog world), but of course many other big names too.

And the type of music that suddenly found itself out of fashion? That of Canterbury, or at least the sound the region is associated with. Twenty-Five Views of Worthing were very much entrenched in that genre. The psychedelic background, the pop sensibilities, the fuzzy analog instrumentation, and the jazzy instrumental breaks define their composition way. In looking for one best track to sample, I'd recommend 'Joke Without Words' which is, not surprisingly, the longest song on offer here. The first 3 tracks come from their earliest incarnation of 1972 to 1973 (including the above). This was to be the recording lineup that Island ultimately shunned. There's one track from 1973 (known as their Transition phase) that shows Twenty-Five Views of Worthing heading more towards a jazz career. Musically it's still not far from Canterbury, but having a full time trombonist will have that effect. The final 3 tracks do come from an existing (though incredibly obscure) 1977 EP entitled Rat Brain Incision. Of course with a name like that and considering the time and place, obviously this will be some sort of punk rock offering, right? Nope - more Canterbury. Never say die I suppose. And the material here is just as strong as what came before it. Remember that National Health were peaking during this era as well. So 48 years after we were to first hear of Twenty-Five Views of Worthing, we now have a proper recording. Hooray. Well worth your time in obtaining especially considering the overall package (see below).

Ownership: LP: 2020 Wind Waker. Gatefold with a lavish booklet filled with liner notes, photos, newspaper clippings, and concert bills. First class job all the way. Purchased this from our good friends at The Vinyl Archivist, who also first recommended it to me.

Mark Pierson Band ~ USA ~ Massachusetts

Songs for the Sirens (1976)

---1/14/15 review

I found this album to be an extremely pleasant piece of music. And there's an underground experimentalism found here that gives off a whiff of Ohr era Krautrockian glory. Perhaps the abundance of flute plays a major role in this perception. We tend to forget that many of the original German underground rockers had a jazz background before entering the studio stoned out of their frickin' minds. Now - to be clear - this is a straight up instrumental jazz rock album in the mold of MPS more so than a Kosmische Musik freakout session. But one that is wonderfully underproduced which gives it that underground garage feel.

Mark Pierson is one of a seemingly endless number of folks to consider use of the generic rainbow album cover. The kind of sleeve you expect to find at Goodwill for 10 cents fronting the "The Megachurch All-Stars Sing The Osmonds" (with one tube of toothpaste included!).

---1/2/21

In hearing this last night, I had a +1 experience. Songs for the Sirens has a vibe that is entirely European, and takes your mind to some unique places. Favorite tracks include 'Wind', 'Arabesque', and the title track. But there's not a stinker in the bunch. Highly consistent throughout, and a superb offering overall.

Ownership: 1976 Gothic (LP). Purchased directly from guitarist Mark Gordon. Acquired in 2021.

No reissues as of 4/14/26.

1/14/15 (review); 1/2/21 (update / new entry)

The Carolyn Hester Coalition. 1968 USA-New York

Carolyn Hester was an integral part of the Greenwich Village folk scene of the early 60s. Coming originally from Waco, Texas, she was among the royalty, rubbing shoulders with the likes of Pete Seeger, Joan Baez, Peter, Paul & Mary - and Bob Dylan. She's credited with starting the latter's recording career, and as the legend goes, the famous trio was to be called Peter, Paul & Carolyn.

My Dad had a couple of Hester albums in his collection, and thus it's no surprise to find this one in RT's collection which is similar to what my Dad had (x100 mind you). To paraphrase the ad cliché - this is not your father's Carolyn Hester. Just the fact Dad only had 2 of them (and they were in really good shape) tells me he wasn't much of a fan to begin with. Had he somehow stumbled onto this one - and bought it on a whim - he would have screamed in anguish at how terrible it was. RT being about 10 years younger, enjoyed early rock (witness all The Beatles and Stones, acts that my Dad hated). He also loved Carolyn Hester, as I've found 5 to 10 copies of each of her early albums. Only one of these (so far) and haven't found Magazine yet. Long way to go still.

Apparently Hester's career nosedived when folk went out of fashion, so she decided to make a go at psychedelia, an unusual move for her running set. The "Coalition" proved to be quite good, and really does add psychedelic styled rock, with some excellent fuzz and good rhythm work. Hester has a gorgeous voice, and she makes both the covers and her (quite adept) original compositions shine. You can tell she's still a folky at heart, but at least she made a sincere attempt at psychedelia. The first 2 tracks are quite possibly the best, and it gives you an idea if this album would be for you. Given all the factors above, this is definitely a keeper for me.

Ownership: LP: 1968 Metromedia. Single sleeve. That's quite a sexy cover, demonstrating that Hester was all in for this new career direction. She was still only 30 at the time of this release. She was also extraordinarily beautiful for the folk scene, and definitely had her name attached to all sorts of love scandals in the early 60s, all of which she denies. It wasn't easy for career women in those days (think Mad Men era), so I'd be apt to believe her.

2020 Classic Rock / AOR Journal Vol. 3 - Complete

Jigsaw - Sky High / Brand New Love Affair. 1975 Chelsea (SP). From a local store for 25 cents (Dec). Rhythm Heritage was the first single I ever bought, but 'Sky High' was my first AM hit that I loved. I think I heard it first in the dentist office - seriously! I was 10. All these years later, I still like it. I think it's those echoed vocals - very trippy! The flip could almost be considered a throwback to the psychedelic era.

Grateful Dead - Steal Your Face. 1976 Grateful Dead / United Artists (LP). From RT (Dec). Last year at a garage sale, I picked up a small stack of Dead CD's, all earlier than this release. I enjoyed them at various levels. In addition to that, I have a box full of live cd-r's that I have yet to dig into - seems like a good retirement activity. In any case, very few people are singing the praises of Steal Your Face, and it's easy to see why. Apparently it was a contract obligation album. I read some other anomalies that Deadheads will understand more than I. Most of this is country rock, and not very interesting at that. Great cover though, like many of their albums sport.

Dave Matthews Band - Remember Two Things. 2014 Bama Rags (2xLP) (1993). Thrift shop find (Dec). I'm familiar with Dave Matthews but I know nothing of his music. When traveling to Baltimore, in the evening when I hit the various restaurant bars/craft beer houses in Fells Point, I seem to run into an inordinate amount of Dave Matthews groupies, who follow him around. I'm more befuddled by this situation than I am Fleetwood Mac. I don't know what I was expecting (jam band?), but it wasn't this. It's just so.... ordinary. And boring. I'm sure the live shows are far better and more experiential. Besides, this was his first album, so maybe not representative. I could care less to find out. It's a double LP, and I fell asleep a couple of times trying to get through it.

* - Keeping for the collection

Wobbler ~ Norway

Dwellers of the Deep (2020)

Here's how I opened up my review of From Silence to Somewhere: "For any number of legitimate reasons I can lay out, it wasn't until November that I heard my first new album of 2017. And that one album was Wobbler's 4th opus From Silence to Somewhere. But what a way to ring in the new year! 11 months belated perhaps, but it doesn't matter because I can say with a certain amount of confidence this will be album of the year for me."

Three years and one month later, and ummm, yea exactly that. In fact I insisted in getting this listen in, lest I miss the entire year.  God how I love Wobbler! I keep expecting many other bands to follow in their footsteps, and yet very few (if any) really do. They seem to do everything just right, including awaiting three years to release a new album. For 2020, I have figuratively traveled the world with vinyl LPs - given the vast amounts of crazy pieces brought in while digging in the wilds, or inheriting a houseful of records from a fellow collector. Despite that, I love coming home to my favorite "city" - that of early 70s styled symphonic progressive rock. It seems I will never tire of this most wonderful genre.

What one notices about Dwellers of the Deep is they have backslid a bit to their very Yes-like Rites at Dawn. Which is hardly a complaint, but it does take away from their native Nordic Anglagard-y approach of From Silence to Somewhere. All the same, I found myself enjoying Dwellers of the Deep on the same level for the first half of the album. Especially on 'Five Rooms' where I could swear I heard an organ jam that could have come straight from a Caravan album circa 1971. In The Land of Grey and Relayer one dreams of. The second half of the album, while still excellent, didn't quite have as many hair raising breaks and melodies that Wobbler are capable of. At this point, I'm rating the album a skosh off a masterpiece. But of course that could change over repeated listens. Whatever the case, yet another great album by a great band. Let's take that one step further: Wobbler are my favorite contemporary band. Competition is welcome of course.

Ownership: 2020 Karisma (CD). Booklet with lyrics, photos, recording details, and artwork. Acquired in 2020.

12/30/20 (review); 12/2/25

From Silence to Somewhere (2017)

For any number of legitimate reasons I can lay out, it wasn't until November that I heard my first new album of 2017. And that one album was Wobbler's 4th opus From Silence to Somewhere. But what a way to ring in the new year! 11 months belated perhaps, but it doesn't matter because I can say with a certain amount of confidence this will be album of the year for me. It's currently in the running for album of the decade. Of course not everyone will agree to such an assessment, but as I write this, it maintains the top spot on Gnosis, ProgArchives, and RYM (for the style progressive rock that is - only #42 overall (#32 in 2023), but impressive all the same). For the same reasons Anglagard finds themselves under the bus on occasion, so will Wobbler: It's an old sound brought forth. Oh my though - we're talking an album that goes toe to toe with the best of 1972. From Silence to Somewhere is Wobbler living up to their potential - and then some. I've been a fan since Hinterland first hit the shelves, and had no problem with its, and successor/predecessor Afterglow, obvious Anglagard/Sinkadus worship. Wobbler took an odd turn on Rites of Dawn, circling The Yes Album wagon and draining it completely of all its assets. Though one can't blame the band for taking advantage of Andreas Wettergreen Strømman Prestmo's strong resemblance to Jon Anderson.

But what of From Silence to Somewhere? Well it's pretty much progressive rock perfection, that's what. I've stated this phrase before, but it bears repeating: If you find yourself not enjoying this album, then it's time to reassess your love of classic progressive rock. At a bare minimum I can say this as a matter of fact, rather than opinion: This is what I look for when hearing progressive rock. At this stage of my life, it's rare I want to hear an album more than 2 times straight before moving on to the next one in the stack. With From Silence to Somewhere, it's all I wanted to hear for days on end. I came back to it in the same way I would revisit Close to the Edge as a young teenager. Each time the album would reveal more about itself. Like a John Le Carre novel, it twists and turns in various directions, keeping you guessing even though you already know the outcome. And the sound is so perfect. Thick and wedgy and luscious. You just want to bathe in it.

The 21 minute title track and the closer 'Foxlight' are just merely great. But it's within the depths of the album you find the 2 gems that are lifetime achievements. The moody introspective 'Rendered in Shades of Green' is the definition of a piano and mellotron soaked instrumental. The melancholic feel of a misty windswept Scottish countryside. Then blasting out of the gates comes the piece de resistance 'Fermented Hours' sounding every bit like Il Balletto di Bronzo tackling 'Gates of Delirium'. Every metal band worth their leather strap would love to create this kind of intensity, and yet it's done through an obvious progressive rock lens. Breathtaking.

After the album is finished, there's only one thing left to do. Hit Play again. And again.

Ownership: 2017 Karisma (CD). Digipak with 12 page booklet. Acquired in 2017.

11/17/17 (review)

Afterglow (2009)

Though Afterglow was released second, this is really a newly recorded version of older material dating back to 1999. Here, the sound is more obviously influenced by Anglagard with mellotron, heavy guitar, grungy organ, flute, woody bass - the whole package. So definitely closer in sound to Hinterland than their newest release Rites of Dawn. Easy recommendation for those into the heavy early 1970s sounds of northern Europe. For me, I'm not sure I'll ever tire of this sound. The more the merrier.

Ownership: 2009 Termo (CD). Digisleeve. Acquired in 2009.

2009; 10/12/11 (review); 11/30/17; 9/19/26

Hinterland (2005)

Not since Anglagard, did a band receive so much attention before their debut release. There were plenty of folks trumpeting its release ("pass the torch", bla bla bla) and, not unexpected, a full gathering to say Wobbler are really not all that amazing - overrated, over-hyped, over whatever. Since there isn't a single album that everyone agrees is great, this point / counterpoint is bound to happen in the virtual progressive rock town hall. Personally I don't think we can have enough bands like Wobbler. It's analog keyboard heaven. It has the flutes, the woody bass, the active drumming, the loud fat acid guitar leads, the great production. It's rhythmically complex. It's dynamic with real climaxes and releases. It's an open ended style of progressive music, that allows for many avenues, crooked alleys and hidden piazzas. And it takes many listens to discover the various paths. So not every band is the all-time greatest ever, but if there were 50 bands operating in the Wobbler style, most would score very well with me. Either that, or perhaps we've reached a new pinnacle of cynicism, and you have to begin to wonder if you're even a fan of symphonic progressive rock anymore. Admit it, you stumble on something like this album in the record store: 1974 Polydor Norway. And you wave your hand dismissively and bark "It's just average - whoopeedoo". Yea, sure. Through it all, I can't help feeling bad for good ole' Sinkadus. They're really the only other modern band that went down this route in the 1990s, and they were just TRASHED for daring to walk the sacred ground of Anglagard. Time will most certainly be good to Sinkadus. Time has already been good to Wobbler. Bravo!

Ownership: 2005 Laser's Edge (CD). Acquired in 2005.

7//05 (review); 5/2/10; 10/11/11 (update)

 

Rites at Dawn (2011)

My comments are going to echo many you've already seen - it's clear that Wobbler has made a conscious attempt at recreating the textures, sound and compositions of 1971-1972 era Yes. Personally I think it's a style that has plenty of room to improvise and innovate in, and apparently Wobbler agrees with me, as this is a wholly original work within an obvious context. As such, I find many of the parts quite exciting, with vicious Rickenbacker bass, mellotron, organ, and loud acid guitar leads way out front. Some of the acoustic guitar work recalls other British acts of the early 70s. So the band has clearly cut ties with its Anglagard / Sinkadus early 70s retro-Scandinavian past, and migrated towards the British Isles, just as their ancestors did 1300 years ago. Works for me.

For dyed-in-the-wool old school progressive rock lovers like me, this one is a no brainer pick up.

Ownership: 2011 Termo (CD). Acquired in 2011.

7/27/11 (review); 9/9/23

7/27/11 (new entry)

2020 Hard Rock Journal Vol. 1 - Complete

Def Leppard - Love Bites / Billy's Got a Gun. 1987 Mercury (SP). Yet another surprise from RT. What's an early 60s folk collector doing with this? lol. Anyway - GOSH the A side sucks. It seems each band throughout the 80s was trying to top the other for pandering to a perceived feminine audience. Whatever, it's terrible. The flip is a live version of a track from Pyromania. No room for improv it would appear. Not a great song to begin with. Waste of 11 minutes overall. (Dec)

Aerosmith. 1973 Columbia (LP). Thrift shop find (Dec). At this point, Aerosmith were nothing more than a harder rocking bar band. Two exceptions - 'Movin' Out' is an excellent hard rock number. And then of course there's 'Dream On'. Even though I've heard it precisely one million times, I still find myself captivated by it. Steven Tyler has never been better. And a good thing he gave it his all here. Hard to imagine Aerosmith going much further if it weren't for the blockbuster hit. 

The following came from a local record store, all at 50 cents a pop! (Nov)

Stone Fury - Let Them Talk. 1986 MCA (LP). This is the second album by Stone Fury, before firing up Kingdom Come. The first one was a pleasant surprise and I decided to keep it (and it has its own post here). I should really hate this - from the cover to the obvious synthesized mid 80s styled AOR sound. But these guys have a good command of hard rock, and the songs are pretty decent. Even the synthesizer work is good, a bit Berlinish at times! I'm not keeping this one, but it's better than you would think.

Witness. 1988 Arista (LP). An Atlanta based group, Witness were a bit better than the ones below. They featured a tough female vocalist and even featured some Hammond organ, which was highly unusual for the day. In the end though, all the songs tend to blur together. It's a +1 on Will and the Kill but the genre is about the same. Not worth holding onto.

Victory. 1985 CBS Associated (LP). German group who more or less emulated same era Accept and Krokus. Started out with a couple of decent riffs, but deteriorated quickly. Just like the aforementioned bands. Dearth of material.

Will and the Kill. 1988 MCA (LP). From Austin, Texas, Will and the Kill played the stereotypical American hard rock of the day. Not sure what the allure was in those days for this sound. Not creative, no guitar hooks, and not even good solos. Annoying vocals. 

Kings of the Sun. 1988 RCA (LP). Great name for a band! Should be some weighty stuff here. Bzzt! Australian group with no imagination, and decide to sound like Rose Tattoo and AC/DC. I'm not fond of this type of boogie hard rock. What a waste of a good moniker.

---end of sale

Longtran - Everydays a Weekend. 1984 private (EP). From a Denver area record store (Nov). Presumably Los Angeles based metal / AOR hybrid. A bit like Bon Jovi I suppose. They have a good sound for the time and certainly had a chance to make it based on the quality here. The vocals are a bit overwrought though. Outside of my interest area, but a curious listen. Spine says Everydays a Weekend, so I think the discography sites out there have it wrong.

Bon Jovi - 7800° Fahrenheit. 1985 Epic (LP). Thrift shop find (Oct). What was it about the mid 80s that made these kind of albums popular? I hated them back then, and they've actually aged worse. Bon Jovi's debut was pretty decent actually (not enough to keep mind you...), but the well was already empty by this sophomore effort.

*Uriah Heep - Look at Yourself. 1971 Mercury (LP). From an LP buy in Monument (2019). Uriah Heep are the consummate hard rock band dabbling with progressive. To me, they exude cool. By 2020 standards that is. For those who have a copy of the Rolling Stone Record Guide under your pillow, then Uriah Heep represent everything they hate. History has been kind to these long time warriors. I said this in another Uriah Heep post, but it bears repeating: Seems every high school hard rock garage band of the late 70s used Uriah Heep as a blueprint. I never did own this on LP back in the day, the cheap CD being my introduction. LP wins. (Sep)

* - Keeping for the collection

Dies Irae. 1976; 1978 Monaco (archival)

Dies Irae's archival album demonstrates many parallels with the Satan album I wrote about a couple of years back. They were both from the mid 70s, play a very French style of progressive rock, the recordings are less than stellar, and were released in lavish packages from Monster Melodies. And while the music has a bit of loss (think of an archival tape you may own), the music is too superb to ignore. These recordings are mostly from 1978, with 3 live tracks from 1976, all interspersed. Musically I was reminded of the early 70s French bands such as Ame Son, Atoll, and even Moving Gelatine Plates. Only the final slightly new wavey 'Stake a Bobolink' indicates the time and place. Dies Irae sports a five piece versatile lineup including woodwinds. It's a real tragedy that Dies Irae weren't afforded more time in a proper studio. The final product would most certainly have been considered one of the progressive rock greats from the region. 

Ownership: LP: 2016 Monster Melodies. Gatefold. Clear vinyl. Recent online acquisition. As is usually the case, Monster Melodies provides a lot of value with their product. The cover is very nice filled with lyrics and recording details. Comes with a small poster of a band advert, a cardboard concert flyer, and a postcard of the band playing live. No history, though it can be found online. The cover is a bit misleading, as it looks more like an early 70s psych band, but it's still cool artwork. One could also make a case that the title should be Chaos if considering the label.

12/27/20 (first listen/review/new entry)

Images. 1983 USA-Colorado

I'm always on the lookout for local releases, and it seems I've run into this title before, but didn't pay attention close. So when this mint copy showed up at a local thrift shop, I nailed it. These guys were from Castle Pines, just south of Denver. The mountain and lake picture on the cover (oddly it appears the photo is from California - why not Colorado?) makes it look like any number of new age albums on the market at the time. Well it's not that, but it is a variant on smooth jazz. Even though woodwinds artist Joe Anderies lists flute, alto flute, and tenor sax, he is shown playing the trusty soprano sax, and that would be his preferred instrument (to my dismay). On the bright side, main songwriter Lee Bartley provides the wonderful grand piano and Fender Rhodes. There's also some guest female vocals on the first side that adds much needed variety. I found the compositions a cut above normal, and made for a very pleasant early evening listen. Given its provenance, this one stays.

Ownership: LP: 1983 Echo. Single sleeve. Recently acquired as noted above. Easy to find if you're so inclined.

2020 Classic Rock / AOR Journal Vol. 2 - Complete

Missouri. 1977 Panama (LP). With CCR (Dec). I first found this album in a record store when I was still in college in the middle 1980s. On first glance, it looks like money - a cool stenciled drawing of the St. Louis Arch perched atop the Utah desert; small or private label pressing. Except it's not a rare occurrence at all. This album must have sold great numbers for an upstart label such as this. And people have been trying to get rid of it ever since... The music found here is very much a product of the 70s, that segment of the decade that really hasn't aged well. It's bar-band-good-times rock n' roll, with songs about a-lovin' and a-rockin'. Some of the tunes are more trite than others, but it's not a bad way to spend 35 minutes. Closer 'Mystic Lady' proved that Missouri (from Kansas City incidentally) could do more if they applied themselves. Starcastle they were not. By any measure, one would have to admit they were a success story for a brief while in the late 70s. History won't be kind though. 

Creedence Clearwater Revival - Bayou Country. 1969 Fantasy (LP). Thrift shop find (Dec). I've never been a fan of CCR, nor have I ever understood their allure. What we now call Swamp Rock, it would seem to have no more than a regional following from the southern portions of Louisiana and Mississippi, as well as southeastern Texas. I hadn't originally planned on giving away 35 precious minutes of my treasured evening listening regimen, but after a quick sample to check the condition, I heard enough to do just that. Side 1 starts with one of their hits 'Born on the Bayou'  which isn't too bad really. I find John Fogerty's vocals incredibly annoying, but I guess in an era when Janis Joplin was also popular, I suppose the buying public's ears weren't any more offended. The rest of Side 1 goes by without notice, but not unpleasant. Side 2 starts with 'Good Golly Miss Molly' which has some great guitar, and this is what captured my initial attention. I figured the song would be your usual early rock n' roll boogie number, but it's definitely hard psych. And the closer is the other winner, 'Keep on Chooglin'' also features some very good lead guitar. But this side also has 'Proud Mary' which I think is one of the worst songs of all-time. It's torture to my ears in the same way that Bruce Springsteen is. If I first attentively listened to FM radio in 1977, then I've been enduring this awful piece of music for 44 years. Not to end on a sour note, the album as a whole is much better than I would have imagined. 

*Paul McCartney & Wings - Band on the Run. 1973 Apple (LP). Thrift shop find (Nov). For all of my semi-disdain for the Beatles, I find the solo albums even worse. I don't like the lot of them. Well, until I heard Band on the Run all the way through. This is a weird record, but just the way I like it. If I were to name my favorite Wings' songs, I would have picked the first two here, unknowing they were put together like this. The song construction - for the whole album - is done in a such a piecemeal fashion, and one that I find highly appealing. I don't know if this is McCartney channeling his Magical Mystery Tour days, or if he was suffering from malaria while recording in Nigeria (when having a fever, try to write a few songs in your head, you'll be amazed at what you come up with) - but he's tapped into his inner Brian Wilson for sure. The latter not a throwaway reference. The chorus' can oftentimes be annoying, but the interludes sublime (think 'California Girls' for example). And all of Band on the Run is like this. I think this album is great. Never thought I'd say that about a post Beatles album. And cool, comes with the poster too...

Fat Mattress. 1969 ATCO (LP). One more with the Stoneground's (Nov). This is the band Noel Redding founded after leaving Hendrix. I enjoyed the opening track 'All Night Drinker' due to the presence of Chris Wood on flute. But that would be the end of his contribution, and honestly the end of anything interesting. It's a good psych album, but nothing here grabs the listener, whether it be a fine melody or an exciting instrumental excursion. For 1969, it's a bit blasé.

Stoneground - 3. 1972 Warner Bros. (LP). With the other Stoneground (Nov). Well no surprise here after hearing The Family Album. Except this is even -1 worse. Really grating stuff and not a pleasant experience. Not sure at all where the interest would have lied here.

Stoneground - The Family Album. 1971 Warner Bros. (2xLP). Same as the Rabin (Nov). Mostly live set. The music is a mix of typical early 70s blues, gospel, and pop rock. No songs jump out as memorable. Not my thing at all.

Trevor Rabin - Can't Look Away. 1989 Elektra (LP). From a local record store (Nov). Of course, you all know Rabin. Here he shows his true colors as a pop artist. I didn't expect much from this, and it somehow managed to be worse than I had imagined. Ridiculously vapid. So yes, Trevor, I can look away.

The Guess Who - Share the Land. 1970 RCA (LP). Another day, another classic rock album found at a thrift shop (Nov). I remember liking some Guess Who from their 60s albums but this is clearly transitioning into more of a tougher rootsier rock, that was in vogue in the early 70s. I didn't enjoy any of it really.

Cold Blood. 1969 San Francisco (LP). Another day, another classic rock album found at a thrift shop, part 2 (Nov). Don't be fooled by the pretty lady up front. She's just as annoying as Janis Joplin. Nails on a chalkboard. I had hoped for some cool horn rock here, but it's mostly blues, and not the good kind.

* - Keeping for the collection

Can - Tago Mago. 1971 Germany

When the Krautrock revival gained full steam during the 1990s, Can was at the forefront of the movement. Along with Neu! and Faust, Can were from the Motorik School, that of the repetitive groove which captured the hipster's short attention span apparently. Having been a decade ahead of this, my own introduction came via the Berlin School of electronics which lead to a full discovery of Tangerine Dream, which lead to Ash Ra Tempel, Agitation Free, and Guru Guru. So this was my initial idea of Krautrock (a term widely used back then too). So when I first heard Can, I wasn't very impressed to be honest. Monster Movie completely lost me and Soon Over Babaluma was interesting if not very compelling. Tago Mago was just too expensive to experiment with (and yes, we're talking the 1981 reissue double LP which could still be found new then), so I never did hear it during my initial 1980s exploratory phase. When I started to surround myself with like-minded friends, they of course owned it, and my initial reaction was similar - meh. Eventually I secured an early CD pressing as I knew there was too much music here to simply ignore.

Tago Mago is Can's most ambitious work by some margin. The three tracks on Side 1 are what I'd call prototypical Can. Good grooves, Damo's street theater rantings, a lack of melody, and hardly any instrumental prowess. I like it ("...mushroom head...."). I don't love it. 'Halleluwah' is generally regarded as the album's piece-de-resistance, and I'm not arguing that point at all. This is Can at their best, with a hypnotic deep groove and some reasonably toned down trippy instrumentation. I would be willing to state that album #1 here might be Can's finest moment in the studio. To provide context, for my tastes, Can's best music was found later on archival releases like The Peel Sessions and The Lost Tapes. And that's because they do show off the group's inherent instrumental talent, that they seemed shy to demonstrate on record. Now back to Tago Mago. They should have stopped right there. But when does an experimental band know when to quit? They don't, and they really went for broke on album #2. I find both 'Aumgn' and 'Peking O' really hard to get through, even to this day. After some 30 years of familiarity, one cannot accuse me of not giving it a chance. It's just not for me. I'm sure there is a mental state where music like this works, but I don't seem to possess it. Not that I'm alone in my assessment mind you. The album's closer is pleasant, and would have fit nicely with the opening trio of tracks. Overall I find that Tago Mago is something of a mandatory purchase for Krautrock fans, only in that it's highly representative, and certainly enjoyable on the whole. Something akin to climbing the tallest mountain. You feel compelled to do it, but it's not going to be easy.

Ownership: CD: 2005 P-Vine/Spoon (Japan). I replaced the aforementioned jewel case CD with this elaborate one some 10 years ago, which of course recreates the original gatefold to the finest detail. And as a bonus, it's essentially the same as the 2004 European Spoon release, so it includes photos and full liners in English. In 2021 I picked up the 1999 Spoon double LP reissue. But decided to part with it, as the CD is all I need here.

9/6/20; 12/21/20 (new entry); 7/4/22 (remove LP reissue)

2020 X-Wave Journal Vol. 1 - Complete

*Laurie Anderson - Big Science. 1982 Warner Bros. (LP) With the two below (Dec). I do have some history with this album. Going back, once again, to early college. During Chemistry Lab 101, our young professor assistant (the same guy who basically told us when we catch on fire - not if...) enjoyed playing a cassette tape of this album during our lab sessions. I was very intrigued by the music, except... it was the absolute wrong setting. Laurie Anderson is anything but background music for lab work. So it came across as annoying, primarily because we were focused on the task at hand. So we begged him to stop playing the cassette... It's been 37 years since that event, and I'm hearing Big Science for the first time on an attentive listen. Well, I did my best anyway. As one reviewer noted, it must be considered absurd that she was a commercial success during this period. There is nothing catchy about Big Science. This is one-of-a-kind music that's for sure. Here are the genres RYM associates with only this album: Art Pop, Experimental, Spoken Word, Minimal Synth, Electronic, Post-Minimalism. I'm sure I could add some more. Overall I found the album alluring, though maybe not satisfying. But it's highly unique and would require a mindset change to appreciate further. I keep albums like that.

*Missing Persons - Rhyme & Reason. 1984 Capitol (LP). With the B-52's (Dec). For whatever reason, I find myself enjoying Missing Persons more than others of this ilk. It's a heavily synthesized mid 80s sound, but the melodies are solid, and the musicianship is a few cuts above the rest. Of course they all played with Zappa, so that could be one reason... I've actually never seen or heard this record before (1984 was early college, so I had even less to do with anything associated with New Wave). I was surprised, perhaps disappointed, that it's only a $5 record even in mint shape. But the good news is - I'm keeping it anyway!

The B-52's. 1979 Warner Bros. (LP). Thrift shop find (Dec). I have a story for you on The B-52's. The best part of a blog is that I have a captive audience. And the best part for you is... you don't have to read it. Ha! So... in 1998, I was a consultant for a large ERP software company, and my gig in those days was as a DBA - when I still had real applicable skills and didn't rust my brain out in "leadership". Specifically performance and tuning was my specialty. Since many of our clients had serious performance issues, I was in high demand nationwide, flying coast to coast to get them back on track. And when said company had their annual User's Conference, I was asked to run a one hour session on the topic. Because the topic was so popular, we would get one of the large auditoriums in the Moscone Center (ah forgot to mention that the conference was in San Francisco). We had over 1,000 people in attendance, standing room only. Now for an introvert like me, that's quite daunting. However, when a room is that big, it's actually more like doing radio (which I had already done for three years) - basically talking into the abyss. All the same, introverts like me (we're not shy by the way - common misconception - it's that we give off lots of energy, and thus are completely drained by people being around us, especially extroverts) - are massively exhausted after such an event. And it was at the end of day. And it's a conference. Meaning... I need a drink. Bad. And free drinks are everywhere of course. Wine please. Next glass. Next glass. Next... You get the idea. One of the other interesting aspects to these conferences is their ability to bring in top music acts. Maybe not currently top, but at one point they were. I've seen Jefferson Airplane, Tower of Power, and many others this way. Of course the software companies were (and are) super wealthy, and so they could offer up quite the event purse to any band willing to "sell out" to Corporate America. And on this night in November - as the evening carried on, and I'm bombed out of my mind - there's the The B-52's! I didn't really know them that well, but certainly remember them from my high school days of the early 80s. But given the state I was in, they were the perfect antidote. High energy concert, and a helluva lot of fun. I can still image it perfectly. Of course I was right in front of them (not my natural state, I must say). Good times. Oh, the album you ask? It's OK - decent I guess. Kind of campy really, and not much impact at home listening to the stereo, even with the trusty craft beer by my side. But I think The B-52's are more for the live setting. That's their element. 

999 - The Biggest Prize in Sport. 1980 Polydor (LP). With The Sunset Bombers (Nov). Like many budget bin albums, I bought it primarily for resale. Sometimes I listen to them, and sometimes I just scan the album and move to the sale box (and don't bother to rate). Ah, let's try this one - it's tagged punk rock on RYM. But it's not my definition of punk. Pretty harmless stuff. In this way I was more reminded of The Clash. Side 1 was better than I thought it would be, with some pretty good songs and guitar work. Side 2 was monotonous in contrast. Not bad, but just not my thing.

The Sunset Bombers - Sunset Bombers. 1978 Ariola (LP). From a local store (Nov). In the late 70s, one could tell the music tide was changing to a more aggressive, simplistic rock. Egged on by the music media, the day of complex, thought provoking rock, was coming to a close. Their primary argument: That's not what rock music is. As if such a declaration was etched on a tablet from On High. I'm sure this album was met with critical acclaim... and little sales. It's super boring and all the songs sound the same. It does possess good energy though. Features one of the guys who went on to The Knack, who honestly weren't much better, but had one great track to propel them to fame and fortune.

Living Dolls - Emotional Parade. 1986 Fine Line (EP). From a Denver area record store (Nov). Four track EP from Seattle based group. The music here is definitely New Wave, and it's a bit late in the game for this kind of sound. Good for what it is though, but not lighting my fire.

*Pulling Faces - Dance of Ghosts. 1987 Wea (Ireland). Excellent thrift shop find (Oct). I was pleasantly surprised by the contents - a fine mix of 80s new wave... and hard rock! Sort of like The Slapp 45 I wrote about here not long ago. Definitely holding onto this one.

*The Police - Ghost in the Machine. 1981 A&M (LP). Thrift shop find (Oct). This is the point where I start to really enjoy The Police. Focusing on nothing more than Sting's excellent bass work opens a lot of doors for appreciating this title. One of those iconic albums that define the term "80's music".

*Duran Duran - Rio. 1982 Capitol (LP). One of those albums that define my high school years, or the latter part of them. I was favorable to Duran Duran even back then, but didn't go so far as to buy their albums. I was still a metal head getting into progressive and electronic. Duran Duran were for the boys who "played for the other team" (don't make me explain). About 5 years ago, I went to a rare garage sale (there was a brief period in 2015 that allowed me to do what I do every week now) and this lady had tons of CDs. And this was in the stack. And it brought back a flood of memories. So now the LP found its way to a thrift (Oct). And I'm enjoying it even more now. They have an edge on them, with great guitar and superb songwriting. I hope to find others by the band. They have proven to be elusive so far. Certainly this is the first copy I've found in two years of doing this. Of course I could just go to a record shop and pay a few dollars more. But that's no fun.

* - Keeping for the collection

Spirogyra - St. Radigunds. 1971 England

My initial scratch off notes from 15 years ago state: Spirogyra's debut has a slight Comus / Jan Dukes de Grey wigged-out vibe, then heads into more safe Fairport Convention / Pentangle areas, before heading back into the wyrd folkk as they might now call it. Love this sort of “mystery behind the bushes forbidden folk” sound.

On this revisit, I don't have that much to add really. As I state many times, the [Prog/Psych/Acid] Folk [Rock] description is usually misleading. Take out all the other identifiers, and you're left with a straight up folk album. Spirogyra is a great example of combining progressive rock and folk. It's definitely not as out there and adventurous as Comus and Jan Dukes de Grey, but there's no mistaking this for The Kingston Trio either. The key ingredients for St. Radigunds is the violin and the bass work, which is what gives it the rock element. Primary songwriter and acoustic strummer Martin Cockerham provides the designated "madcap" vocals and lyrics. Meanwhile Barbara Gaskin chimes in with some wonderful female vocals to offset the unpleasantness. It's her presence that often leads to Spirogrya being called a Canterbury band, which couldn't be further from the truth. At least as the identifying regional term has come to mean. Her next career move happened to place her in the middle of that troupe of musicians. In conclusion, St. Radigunds doesn't have the stellar reputation of other adventurous folk albums from the time period, but I personally consider it one of the beacons of the genre.

Ownership: CD: 2005 Strange Days (Japan). Purchased new online upon release. Mini-LP that replicates the B&C single sleeve original, including lyric inner sleeve. This replaced the Si-Wan reissue LP I owned prior.

Originally reviewed for the Outer Music Diary: Jul 2005 (and since edited on a recent listen) 

2020 Funk / Soul Journal Vol. 1 - Complete

Little Stevie Wonder ‎- Castles In The Sand / Thank You. 1964 Tamla. From the RT collection (Dec). Admittedly outside of my interest area, but I did listen to both sides. Pleasant RnB / Soul I suppose. Little Stevie could certainly sing, that's for sure. And he was only 14 at this point.

Prince - Controversy. 1981 Warner Bros. (LP) Thrift shop find (Dec). I always think I'm going to like Prince more than I do. After all he's an accomplished guitarist with an interest in funk and psychedelic. But the music - at least of what I've heard - tends more towards soul and disco. This is a good album, very much what I would associate Prince with. And the subject matter could use a bath I think?

Dick Jensen. 1973 Philadelphia International (LP). From Independent (Nov). This album made me laugh. Philly Soul meets.... Hawaii. Don Ho leads MFSB. Worth 50 cents to hear on my stereo at least once.

* - Keeping for the collection

2020 Fusion / Jazz Journal Vol. 1 - Complete

The Dave Kennedy Group - Joanie / Accidentally. 1960 Soma (SP). From RT (Dec). Weird one here. 'Joanie' is a typical pop ballad of the era with vibes - and all in reverb! It's trippy in its own way. Flip side is more typical lounge with female vocals.  They were from Milwaukee apparently.

Paul Winter Sextet - Jazz Meets the Bossa Nova. 197? Columbia Special Products (LP) (1962). From RT (Dec). This is the second Paul Winter Sextet album, and represents an early example of  Bossa Nova for American audiences. This is the style that Winter embraced to start in the music biz. This one falls to the instrumental jazz side of the genre, and lacks the melodies and pop sensibilities that made the style so popular only a couple of years later. Average on the whole. 

Phillip Upchurch - Darkness, Darkness. 1972 Blue Thumb (2xLP). From a record store in the Denver area (Nov). Definitely a good score to find this double album in the buck bin. I had forgotten that I did possess this on CD-R from years ago. My opinion, though, hasn't changed. Solid in the "good" category, though for me it's mostly a static and dull listen. Upchuch plays lightly amplified jazz guitar over a set of mostly cover tunes. It's not that far removed from what Gabor Szabo was doing, though the base selection of music is less interesting to me. Not something I need to keep.

Pat Metheny Group - First Circle. 1984 ECM (Germany) (LP). This was with the second Metheny found in the same batch with the below (Nov). Didn't have high hopes for this one considering I haven't been too keen on any of the other Metheny works prior to this. And on top of that, the production is soooo 1984. Slick as a butter dish and I would expect each album to come with a coupon for a Macintosh and a football card of Dan Marino. But this is a weird album really. Forgetting the opener which is kind of silly, the rest has a melancholic vibe one usually associates chill out music with. It's highly melodic, rhythmically complex, and the compositions are unusual. 

Steve Smith - Vital Information. 1983 Columbia (LP). This was in the 99 cent bin next to Pat Metheny (Nov). Steve Smith, of course, is most famous for being the drummer of Journey. So to release an all-instrumental fusion album during the height of his popularity was certainly an unusual move back then. It's a good fusion work and the guitars are surprisingly fiery at times, belying its early 80s date. All the same, it's an all too familiar sound, and I already have a couple of shelf fulls of similar. No need for another.

Pat Metheny Group. 1978 ECM (Germany) (LP).  Pulled out of a 99 cent bin of a record store in Pueblo (Nov). More adult contemporary jazz... fusion. I'll never mature enough for this style of music it seems, but have to admit it provided a pleasant mid-evening listen. Calms the nerves, while not offending anyone. 

Dusty Springfield - The Look of Love. 1967 Philips (LP). Thrift shop find (Nov). I'm a huge fan of the Bacharach song, and in particular Springfield's version of it. Unfortunately this is not the same version as the Casino Royale soundtrack. I was certain I would enjoy this album. Alas, something is not right with it - it may be the orchestration. The production is tinny and somehow Dusty Springfield actually sounds annoying, which I didn't think would be possible. Bummer.

*Artie Butler / Dionne Warwick - The Love Machine. 1971 Scepter (LP). Thrift shop find (Oct). This album fits perfectly into the world of Burt Bacharach and Dionne Warwick. It's got the right 60s vibe and sound. Great songwriting of course. It's a soundtrack to the movie rendition of Jacqueline Susann's trashy novel. Everyone presumed a Valley of the Dolls repeat, but it was a flop. But the soundtrack is great. 

* - Keeping for the collection

Porcupine Tree ~ England

The Sky Moves Sideways (1995)

Porcupine Tree broke onto the scene in the early 90s with On the Sunday of Life, a compilation of two earlier cassettes. In the music world I was running with at the time, this new album was all the rage with my compadres. I wasn't overly impressed, as it sounded to me exactly what it was - a one man psychedelic bedroom project. In retrospect it would seem my peer group were better plugged in than I on spotting the new talent. Up the Downstair sees the band going more noticeably pro. Again though, I was somewhat nonplussed (revisits are long overdue admittedly). By the time of The Sky Moves Sideways, Porcupine Tree's trajectory was through the roof, and they no longer could be ignored so easily. They seemed to capture all of the early 90s UK psychedelic scene into one full album set. There's moments of Ozric Tentacles like fiery space rock, EDM, trippy shoegaze, and most noticeably a Pink Floyd fetish circa Wish You Were Here. The music is stretched out but never boring. They had tapped into a goldmine. Maybe not literally, but within a few short years Porcupine Tree became progressive rock royalty. And while no modern band will ever share the success of their brethren from the 70s, Porcupine Tree did about as good as could be hoped for through 2009 or so. Personally I never did catch up with them, going one more album before stopping. Not really sure why - I've certainly enjoyed The Sky Moves Sideways since first hearing it. Though what I have heard from their future does dabble in Alt Rock and that's definitely not my thing. But I'm not judging until I hear them throughout. In any case, The Sky Moves Sideways seems to be a consensus winner no matter your nuanced progressive rock preference.

Ownership: 1997 Delerium (CD). Booklet with lyrics (against what appears to be a Letzte Tage - Letzte Nächte background), a couple of photos, and recording details. And you gotta love a cover with a red box telephone booth in the middle of a desert. Acquired in 1998.

1998; 12/15/20 (review)

Previously owned: Up the Downstair; Signify; Voyage 34; Moonloop; Recordings

Another band that I was higher on earlier in my discovery phase. Always up for relistens though.

12/15/20 (new entry)