Poobah - Steamroller. 1979 USA-Ohio

These notes go back to 2005 and were enhanced heavily on a listen 8 years later. Last night's revisit only underscored how great an album it is.

Not deterred after not being signed to a major label for US Rock (1976), Gustafson reformed Poobah again, and released one of the best hard rock albums for the entire 1970s in Steamroller. Not prog or psych or metal, just straight up hard rock. Power trio hard rock the way a band from Youngstown, Ohio oughta be. These guys just kick ass on the album from the beginning to the end. In reflection, there is a slight progressive rock angle added here, and tracks like 'Jump Thru the Golden Ring' recall Judas Priest's similar type efforts. Instrumental bonus track 'Atom Bomb' has piano introducing what ultimately becomes a proggy styled jam. The only track here that is superfluous is the Zep cover, otherwise it's all aces. If you at all have interest in the US Midwest private hard rock scene, this is the album to get.

Ownership: CD: 2005 Monster. Purchased new upon release. Fantastic reissue with full liner notes and 5 great bonus tracks. One is mentioned in the review above, the other 4 come from a live concert at Biggy's in Youngstown in 1979. If I could go back in time, I would love to go to a place called Biggy's and listen to Poobah. That might be a top 5 priority actually. Worth noting that the Monster CD altered the track order, much to its benefit I think, as it flows more natural than the LP proper.

11/05; 9/25/13 (new entry); 6/12/22 (update)

Ayers Rock - Beyond. 1976 Australia

Ayers Rock's second album has that unique Australian progressive rock sound that mixes intense jazz fusion with AOR instincts. Windchase and Pantha are two great examples of this sound. On par with their debut, though maybe a slight downward turn. I can see why A&M signed these guys up in America, they certainly had the right 1976 sound for radio. As did Sebastian Hardie, but for whatever reason, neither caught on here. It was the boogie rock of AC/DC instead that hit home in the States.

Ownership: LP: 1976 Mushroom. Single sleeve with colorful company advert inner. Nice artwork. This was a gift from a very good friend of the UMR.

6/8/22 (new entry)

Swifan Eolh & The Mudra Choir - The Key. 2019 Norway

Over 30 years ago, there was a new band from Norway that appeared on an also new LP-only imprint called Colours. That group was known as Utopian Fields, who managed two albums, and both of those have just recently received a CD reissue on the Norsk Classic Albums label. Swifan Eolh & The Mudra Choir (these monikers...) is version 2.0 of Utopian Fields, among others. All the newer bands from Norway are very well studied, and the music they produce is excellent, if not necessarily ear catching. You could read what I said about Tusmorke's latest, and apply it here. Unfortunately these Norwegian albums tend to all blur together (excepting Wobbler of course). I probably need a few hours of intense listening to begin to sift them all through my mind. For The Key, I listened to each side twice, but no specific words emerged. I didn't care for 'Tides are Turning' and liked the opener 'Wounded Dreamers' best. ProgArchives for their part make a point to call this "eclectic prog". I wouldn't have a clue what that meant, but Swifan Eolh & The Mudra Choir do seem a perfect fit for such a wide ranging genre. As for that defunct label Colours, Utopian Fields could be seen as the most obscure on the imprint, considering no less luminaries than Anglagard, Anekdoten, and Landberk all debuted there. Swifan Eolh & The Mudra Choir will be even more obscure in the annals of time.

Ownership: LP: 2019 Apollon. Gatefold. Lyric inner sleeve. I have to say that the packaging of all these new albums is very nice.

5/9/22 (new entry)

Tusmørke ~ Norway

Nordisk Krim (2021)

I last left Tusmørke in 2017 (Tusmorke if searching in English) after Hinsides, which was their 4th album. This is their latest, and Tusmørke are already on their 9th album (!). I was yin and yang on those first quartet of works, having enjoyed the debut and their 3rd, but the other two were perhaps a bit too folky / singy. Given that Nordisk Krim clocks in at over 80 minutes, it would seem that we'll likely get the entire Tusmørke repertoire. And more or less, that's exactly what this album brings. You can read my reviews of the others and have an idea of the sound here. Flute remains a key ingredient, and that's their best asset IMO. If you're new to the group, this wouldn't be a bad place to enter, even though this comes late in their career. At this stage of my own collecting career, it's getting to the point that even an "excellent" rating isn't moving the needle much. I need some wow moments, which Nordisk Krim lacks. But how can I say it isn't great? I don't know if I'll keep all five albums that I own by them (nope), but this won't be the first out the door either.

Ownership: 2021 Karisma (2xLP). Gatefold. Magenta colored vinyl. Limited edition of 666 (a tiresome and unoriginal number). Acquired in 2022.

5/9/22 (review)

Hinsides (2017)

Tusmørke have been an entirely frustrating band. Their debut showed immense promise. Their sophomore effort was a slight step back only to have their 3rd album demonstrate a resurgence. And now another regression here on their 4th release. Tusmørke's music tends to be vocal heavy and the music lacks the kind of breaks one looks for in progressive rock. But the overall sound is still welcoming, with a distinct analog 70s feel. And the flute, as usual, provides the requisite warmth and melodic lines. Borderline keeper, but the 23 minute 'Sankt Sebastians Alter' is a cut above the rest. 

2017 Svart (CD). Tri-fold digipak and comes with a thick booklet containing the lyrics in both English and Norwegian. Also provides a full history about the concept of the album. Fascinating subject matter. Acquired in 2018.

1/19/18; 4/29/20 (review); 11/8/23

Fort Bak Lyset (2016)

Ført Bak Lyset is the 3rd studio album from Tusmørke. The band continues to move away from their obvious Jethro Tull beginnings, to something far more native. As if to respond to the critics, the album opens up with a musical quote from none other than Edvard Grieg himself. English is a thing of the past, and Tusmørke are now defiantly singing in Norwegian 100%. The Viking styled choruses from the second album are still here in abundance, but they've fortunately returned back to their debut when considering the progressive quotient. Flute continues to be the main instrumental driver, and the compositions have added a bit of complexity. There's an underlying hard rock muscle throughout. It takes awhile for the ears to adjust to this one, but Ført Bak Lyset is a step in the right direction as far I'm concerned. This album just basks in its Norwegianess (word of the day). If bands from the 70s like Host and Hades excite you, then you'll be pleased with this one.

Ownership: 2016 Svart (CD). Acquired in 2016.

11/11/16 (review)

Riset Bak Speilet (2014)

Riset Bak Speilet sees Tusmørke beginning to carve out their own identity, and the strong Jethro Tull influence of the debut has subsided significantly. Tusmørke have moved towards a distinct Scandinavian folk rock sound, with more vocals, less complexity, and Viking styled anthemic choruses. Even though the album seems to use only analog instruments, the style of music has a certain modern sheen to it - similar to some Scandinavian heavy metal bands - but minus the metal guitars (if that makes sense). It's not until we get to the title track, which happens to be almost double the longest, clocking in at nearly 15 minutes, that the familiar progressive rock of the debut returns. Here we get multiple shifts in theme, meter, and dynamics, along with more instrumental time for Hammond organ, flute, woody / fuzz bass, and Mellotron. The lyrics are in both Norwegian and English, though it's interesting to note that while they took the time to translate the Norwegian ones, they did not the English (presuming, I'm sure, no one in Norway needs them translated anyway). And just to add to the confusion, or fun as they probably would have it, 'Gamle Aker Kirke' is sung in English. OK, I give up! As for the bonus tracks, once again its curious to label them as such, as the music is exactly like the album proper. Of course, since it is being released on LP, it's fair to consider the extra tracks on the CD as bonus I suppose. In conclusion, I feel Tusmørke has stepped in a direction that's moving away from my personal interest area. As stated prior, this has more in common with folk rock than progressive rock, or even progressive folk rock. It's very lyric heavy, and as such, instrumental flights of fancy are rare. 

---11/25/24

Not too much to add to the above. Track 5 is definitely the highlight and almost good enough to consider a higher rating. I'm hearing the last two bonus tracks better this time, more instrumentally progressive oriented, and that's 20 minutes total. Combining these three is 35 minutes of high quality material, which has improved my rating by +1.

Ownership: 2014 Svart (CD).Thick booklet that doesn't fit the case. Acquired in 2014.

7/6/14 (review); 11/25/24 (update)

Underjordisk Tusmørke (2012)

One of my pet peeves is that every time a band features flute in rock music, then they must be compared to Jethro Tull. I mean seriously - there isn't a hint of Jethro Tull in the music of Gotic, Solaris, or Mythos - and I could site hundreds of examples here. So having said that, Tusmørke have a flute driven progressive rock sound that will remind you of... Jethro Tull. That is exactly what they're trying to accomplish - early 1970s Tull. But the abundance of mellotron and the dark nature of their music (they're Norwegian, they can't help it) will suddenly make you realize that the music is distinctive enough to not sweat the obvious comparison. In fact, if you're a deep diver of the 1970s Scandinavian progressive rock scene, then a couple of bands leap to mind. First is the Finnish band Tabula Rasa, especially at the time of their debut album. But even more to the point, is the archival release from Colours by a band called Hades, who released 20 minutes of really fine flute driven material that had as much in common with those zany Italians Osanna as it did with Jethro Tull. Most of Underjordisk Tusmørke is sung in English, with that gnarled-tree-Ian-Anderson inflection. But the final track and one of the bonus tracks feature their native Norwegian, which sounds more natural - and mysterious - and something I hope they stick with on their follow-up. This band has enormous potential.

---10/3/26

The CD includes their debut 2012 single 'Salomonsens Hage / Singers & Swallows' as well as their ancestor group Les Fleurs du Mal's 'Ode on Dawn'. The latter had never been released prior. The single is similar to the album with a slight psychedelic edge and a little bit more energy. 'Ode on Dawn' is more in line with the Scandinavian retro prog tradition of Wobbler and Anglagard. It's a bit under produced, which seems to work in its favor. Would love to hear more from this group, even a resurrection of the brand perhaps.

Ownership: 2012 Termo (CD). Booklet with lyrics and photos. Acquired in 2013.

1/25/13 (review); 1/14/14; 10/3/26

Tusmorke has released many more albums than these, and I'm open to hearing any and all.

1/25/13 (new entry)

Seven Impale - City of the Sun. 2014 Norway

Seven Impale's debut is a dense work recalling Van der Graaf Generator and King Crimson, with a more contemporary vocal style. A somewhat typical modern take on 70s prog rock, borderline impenetrable, but ultimately satisfying.

Ownership: LP: 2014 Karisma. Single sleeve. Limited edition of 300. Nice artwork with no other features.

5/5/22 (new entry)

Zarathustra (1982) ~ Germany

Also Spielt... (1982)

---5/22/12

Early on in my collecting career, I was informed that the early 80s version of Zarathustra was a waste of time, and that the 1972 album by an unrelated band was the only Zarathustra worth seeking out. So when Second Battle reissued the Metronome 1972 album (1989), I was all over it, buying the LP re-release the minute it came out. I was happy with the purchase, as it is an excellent representative of the Hammond organ rich German culture of the time. 

Have an inside tip for all you out there: I like this title better!

This Zarathustra absolutely nails the 80s neo-progressive meets 60s psychedelic sound. If you like the music of similar German bands like Neuschwanstein, Ivory, and Sirius with an additional psychedelic acid guitar of Iskander (another unheralded 80s group), then by all means you'll want to hear this. Perhaps only the M.L. Bongers Project approaches this unlikely mix of Hawkwind meets Genesis. One of those albums that is entirely unpredictable, and the relistening factor is very high.

---5/4/22

+1 listen!

Ownership: 1982 private (LP). Acquired in 2022.

5/22/12 (review); 5/4/22 (update / new entry)

Didier ~ Germany

Cptn. Coffee (1981)

---7/14/10

Didier's sole album is an incredibly obscure jazz rock release. Similar to Moira's Reise Nacht Ixtlan*, Cptn. Coffee sounds like something from another era - primarily 1973-74. Psychedelic fuzz guitar, driving bass, echoed German narration, atmospheric piano, and tricky meters with sax breaks ala Soft Machine. This is an exceptional album for its vintage.

---4/28/22

Even though it was already affixed with a high rating, I had a +1 listen with the LP last night.

* - Both albums were recorded in the same studio in the same year!

Ownership: LP: 1981 KladielasMusik (LP). Acquired in 2022.

Not been reissued as of 10/17/22.

7/14/10 (review); 4/28/22 (update / new entry)

2022 Fusion / Jazz Journal Vol. 1 - Complete

Dave Grusin - Discovered Again! 1976 Sheffield Lab (LP). I'm always interested in hearing things on the audiophile label Sheffield Lab, and Grusin is an excellent candidate for the imprint. Pretty decent smooth jazz, with a little bit of that early 70s TV soundtrack sound still left. Good on the whole, but inessential. (Mar)

Quincy Jones - You've Got it Bad Girl. 1973 A&M (LP). Similar to the above actually, but even more constrained and saccharine. This one is way too polished. Last year I picked up Smackwater Jack (1971) for the first time, and enjoyed that title better. (Mar)

Streetlife. 1981 Black Gold (LP). Ah, this ended up being a bummer. I was very excited to find this for $3 at a local store (signed no less). I'll buy anything on the collectable Black Gold label out of Albuquerque, New Mexico. Two of my treasures of the collection were released by them: Message (hard rock) and Genre (jazz fusion). Looking at the cover I thought I may have found something like the latter, or perhaps even a soul or funk album. No such luck. The cover, as it turns out, is truly indicative of the music. It's jazz vocal revival music, the sort of thing one would hear in the 1940s and brought back by the likes of Diana Krall in the 90s. Nothing wrong with that of course, just not what I'm into. It'll sell though (it did). (Mar)

RMS - Centennial Park. 1985 MMC (LP). Long ago I had an associate who would determine how good an album was by who was on it. A "names guy" I'd call him. Well, he'd certainly love this album then! Why RMS indeed stands for Ray Russell, Mo Foster, and Simon Phillips. No need to listen to the album - it's great! Ha. In any case, Centennial Park is a fine instrumental fusion album with decent guitar from Russell, but it has 1985 written all over it. The tones are cheap and the compositions are somewhat ordinary. I think if I didn't already have dozens of albums just like it, I would keep it. But enough is enough. (Mar)

*Ruphus - Let Your Light Shine. 1976 Brain (LP). Seems I've been on a Ruphus kick of late, but it's pure coincidence that this album came along after hearing the first two recently. I've had those on LP for many years, but never owned this title. Like with Release Music Orchestra's Get the Ball, you'd think this album was readily available, but it's surprisingly elusive here the States, at least at a decent price. Finally secured one online at a fair deal. This is where Ruphus switches gears from being a prog band to a jazz fusion group. The music is a superb example of the Euro fusion movement of the time, and the piercing female vocals of Gudny Aspaas adds to the allure, though requires a mental adjustment. On this listen, I was most reminded of Embryo's Bad Heads and Bad Cats, a major compliment indeed. (Mar)

Jack DeJohnette's Directions - Untitled. 1976 ECM (LP). I was hoping for a rough jazz rock album here similar to early Rypdal or Abercrombie. Well, not quite. This definitely isn't "ECM Jazz", but it is most certainly "Jazz". I could have gone for a rawer edge, similar to some of the greats from around 1970, but this one plays it safe for the most part. Oh well, not the best week for my jazz rock / fusion collection. (Feb)

Stanley Clarke - School Days. 1976 Nemperor (LP). Standard issue - but very good - fusion album from one of the legends of the genre. Followed the pattern of the day with a pastiche of styles, from heavy electric, to soft acoustic, and everything in between. Sometimes albums penetrate deeper into our psyche depending on when we hear them. For me, this comes too late, after absorbing many albums like it. But certainly a very fine album for the style. (Feb)

Art Lande - Rubisa Patrol. 1976 ECM promo (LP). Another ECM styled late night noirish jazz album. Peaceful and soothing. Though credited to pianist Lande as the marquee, it's just as much Mark Isham's album as well. He contributes half of the compositions and his muted trumpet is the dominate instrument. An old friend was a huge Isham fan, so I heard a lot of his work 30+ years ago. It was too tranquil for me then, and I still feel that way - at least on Rubisa Patrol. Borderline keeper, but have to draw the line somewhere. (Feb)

*Rainer Bruninghaus - Freigeweht. 1981 ECM / Warner Bros (LP). Bruninghaus was the keyboardist extraordinaire for Eiliff, so I was most curious how this solo album would turn out. It was only a couple of bucks, so why not? First off, this is nothing like Eiliff or has anything to do with Krautrock. And yes, it is most certainly "ECM Jazz", so we're all adults now. Mostly it's an atmospheric album with Bruninghaus' soothing piano and Kenny Wheeler's Flugelhorn, backed by scattered drums, oboe, and English Horn. It's very well done, and calms the nerves nicely. It's side 2 that really draws you in, as the music becomes more cyclical and entrancing, while Bruninghaus introduces more synthesizer to the mix. The 12+ minute title track is a whopper. Sounding all the world like Klaus Schulze's 'Crystal Lake' as a backdrop to the soothing jazz up front. Brilliant really. The US press translates the titles on the back cover (but not the label) to English. The title track is set to mean 'Set Free By the Wind', which tells me it's not a straight translation ('Blown Free' would be that), but an interpretation. I like the album's take because it fits the music perfectly. Wonderful surprise. (Feb)

Egberto Gismonti - Danca das Cabecas. 1977 ECM (LP). Acoustic based world fusion album from Gismonti. More towards proto New Age than "ECM jazz". Reminds some of Pat Metheny's acoustic works, also on ECM. It's not a bad album, but not very enjoyable either, at least for me. More academic than interesting I'd submit. (Feb)

Urban Ensemble - The Music of Roland Vazquez. 1979 Arista GRP (LP). This was a pleasant surprise. Somewhat standard fare late 70s fusion but with a full stage band behind it. Great horn charts. Think something along the lines of an instrumental Earth, Wind and Fire minus the soul and disco. Or, maybe more to the point, Caldera. (Feb)

* - Keeping for the collection

The Bigroup ~ England

Big Hammer (1971)

In today's culture, one might presume the Bigroup to be some sort of avant garde transsexual troupe. But most likely in 1971, it stood for nothing more than "The Big Group". Then again, they do have a composition entitled 'Blow-Suck Blues', so perhaps they were ahead of their time after all? 

Musically, however, they sound more like a late 60s group than a pioneering cutting edge post-Swinging London progressive band from 1971. Big Hammer is an all instrumental film library psychedelic album with copious flute, sitar, surf guitar, and roller rink organ. There's not much in the way of compositional development, which would be typical of the incidental film music genre. Somewhat similar to the Italian groups like Blue Phantom, Psycheground Group, or Fourth Sensation. Fun stuff.

Ownership: 2005 Wah Wah (LP). Round gimmix cover. No history or bonus tracks. Acquired in 2022.

Not reissued (legit) on CD as of 7/9/26.

1/9/07; 12/16/13 (review); 4/26/22 (update / new entry)

Newcross ~ USA ~ Los Angeles, California

Newcross (1986)

King Crimson were the only major left standing in the 1980s (or at least they were smart enough to pack it in during the tumultuous late 70s, only to reemerge stronger than before), so it's not too surprising that they were a major influence on a lot of bands during this lost period of progressive rock. As we saw with Regressive Aid, Crimson truly did hold court back then. Newcross is probably closest to Ixt Adux, in that they mix contemporary Discipline era KC with the more aggressive sounds of Red. However, unlike Ixt Adux, there's no leftover VDGG traces. It would be heartening to know if there was more high quality recorded material from Newcross, as a full reissue would be highly satisfying.

Ownership: 1986 Rain of Thought (EP). Acquired in 2022

No reissues as of 9/28/26

4/3/11 (review); 4/26/22 (update / new entry)

Missing Link - Nevergreen! 1972 Germany

Here's another album from the collection I hadn't heard in 16 years. But my review from back then captured my thoughts accurately on this session as well. A really fine effort that continues to satisfy at a high level. Here is that review:

Tight. After repeated listens of Nevergreen!, that’s the word that keeps popping through – tight. Missing Link play in the European jazz rock style, with plenty of saxophone, keyboards (including mellotron and Hammond) and guitar – all in unison, or as soloists. The quintessential track would have to be their cover of Charles Lloyd’s ‘Sorcery’ with lively clavinet, a hopping rhythm section, and great wah wah sax and guitar work. Most of the tracks rock hard, with the typical rough vocal that seems to follow the style. The exception is the gorgeous and engaging three minute piano solo, 'Song For Ann', played by future Embryo / Missus Beastly / Real Ax Band member Dieter Miekautsch. Sadly this would be the only recording for Missing Link, a highly talented group who easily could have gone on to great success. But apparently the German wing of the United Artists label was close to bankruptcy, and coupled with scant concert bookings, sent the band over the edge. Closest comparisons would be the first two Thirsty Moon albums, the first Xhol Caravan or early Missus Beastly.

Ownership: CD: 2005 Garden of Delights. Usual fine job from the label that includes a full history and one bonus track taken from a single (the other side 'Kids Hunting' is from the LP). My first copy goes back to the late 1980s, when I picked up the original LP. It wasn't in the best shape, and ultimately purchased a brand new deadstock LP from a collection buy in Tucson in 1994. I didn't like the cover (still don't) and traded it away for something more to my liking. I'd keep it today, but don't regret the decision as it was a strong asset even back then, and likely added something to my collection that I have to this day.

10/12/06 (Gnosis); 4/9/22 (new entry)

The Budos Band ~ USA ~ Brooklyn, New York

Budos Band (2005)

Found at a thrift shop which was a pleasant surprise. Interestingly enough I have all the Budos Band albums except this first album. I figured it would be similar to the others, since they all have the same kind of music (allowing for hard rock guitar later in the career). And I was right. This has their patented instrumental horn funk sound that they continued to perfect. Still, as a debut, this lays the foundation quite well. A definitely keeper, especially considering the cool retro volcano digipak cover. 

Ownership: 2005 Daptone (CD). Digipak. Acquired in 2022.

4/3/22 (review)
 

V (2019)

Brooklyn's finest returns with their 5th album. Not as heavy as the prior Burnt Offerings, more of a Led Zeppelin type tone this time. Otherwise there's no mistaking this for anyone other than Budos Band. Big fat horn charts and funky rhythms. Every track is excellent. Nothing extraordinary though, and it seems the band may have hit the point of diminishing returns.

Ownership: 2019 Daptone (CD). Digipak. Acquired in 2019.

8/4/19 (review)

Burnt Offering (2014)

I guess we first need to clear something up to set the proper expectations: There's no doom metal here. It's not like an instrumental Candlemass with a horn section (which, believe me, captured my imagination wildly - and I do hope someone actually does just that some day!). I don't think anyone is trying to mislead however. The guitar tone in question is a very heavy psychedelic fuzz circa 1969/70. Well, Yeaaa, that works for me too! I think Budos Band got the message that III sounded like a rewrite of II and perhaps it was time for something different. And they came through with Burnt Offering (someone digging into their Iced Earth collection were they?) - which can only be considered a rousing success. Still, there's no mistaking those horn compositions. Budos Band will always sound like the coolest house band at some "Egyptian Lounge" on Van Ness Avenue circa 1962. That's their trademark. But now they've added some fuzz guitar to those creaky organs and funky horn charts. I like it. Great band. Can't wait to hear what they come up with next. Epicus Doomicus Hornicus?

Ownership: 2014 Daptone (CD). Digipak with band member photos. Acquired in 2015.

6/6/15 (review); 2/18/22

Other albums I own: The Budos Band II; The Budos Band III

6/6/15 (new entry)

Yes - Close to the Edge. 1972 England

From last year, but wanted to get it featured. No need for me to go on and on about this one.

I'm going to take a wild guess and suspect you're aware of this album. One of the greatest moments in my entire collection can be heard at the six minute mark of the title track. I just turn into one big goose bump at that instant. There are so many albums I could point to that led the way to my eventual obsession with progressive rock, but Close to the Edge might be the most influential of them all. I was 16 when I first bought this album on LP. And I subsequently played it over and over and over... I mean entire evenings were dedicated, three and four hours straight. When I look back to 1981, that is when UMR Jr. became Mr. UMR. Everything in my life changed (not just music) - all for the better. Close to the Edge was my soundtrack. This is one of my 5 star masterpieces, no way it can be less at this point. There's no chance for any kind of logical objectivity. It's pure emotion now. 

Ownership: 

1977 Atlantic (LP). Gatefold. Upgraded in 2025; First acquired in 1981.

2013 Audio Fidelity (SACD). Acquired in 2025.

2003 Elektra / Rhino (CD). Triple fold out digipak. Booklet with historical liner notes, history, and four bonus tracks. Acquired in 2026.

Atlantic (MC). 80s pressing. Acquired in 2024.

Essentially rebuilt my Close to the Edge collection in the last two years. For a long time I owned the original German LP and the Japanese papersleeve CD as my two copies. If I can find it on 8 track and reel to reel, I'm keeping those too. Not sure there exists a reel version though.

1981; 1994; 2001; 6//05; 10/9/13; 11/18/14; 3/19/22 (review)

Alain Markusfeld ~ France

Contemporus (1979)

I find it somewhat amazing that you can still buy high quality sealed prog albums from the 70s for under $10 (part 1). This is Markusfeld's 5th album. Concerning the predecessor I wrote: "On Platock, Markusfeld turns mostly to the acoustic guitar, with bursts of electric throughout - as well as a few wordless voices. This isn't so much a prog rock album, nor jazz fusion, but rather a cyclical piece that draws from both genres. Similar in that way to Mike Oldfield, and perhaps more specifically Michel Moulinie. Something like an Inventions for Acoustic Guitar, though far less cosmic. It's a unique album, one that doesn't grab your attention on paper, but becomes mesmerizing over the course of the album." All of that could be said here, perhaps even more academic. Almost an unclassifiable record, but one that satisfies on multiple listens. 

Ownership: 1979 Visa / Egg (LP). Acquired in 2022.

3/3/22 (review)

Platock (1978)

Perhaps the most unheralded of all French progressive rock artists of the 1970s, Alain Markusfeld had no less than six albums throughout the 70s and early 80s, and none have seen a CD or LP reissue. On top of this, his original LP's on Egg, starting with Le Desert Noir, suffer the ignominy of being super cheap. That is to say, there is far more supply than demand. How can that be after all these years? I have no idea really, as Platock is yet another victim of the malaise surrounding the artist. On Platock, Markusfeld turns mostly to the acoustic guitar, with bursts of electric throughout - as well as a few wordless voices. This isn't so much a prog rock album, nor jazz fusion, but rather a cyclical piece that draws from both genres. Similar in that way to Mike Oldfield, and perhaps more specifically Michel Moulinie. Something like an Inventions for Acoustic Guitar, though far less cosmic. It's a unique album, one that doesn't grab your attention on paper, but becomes mesmerizing over the course of the album.

Ownership: 1978 Egg (LP). Acquired in 2000.

2000; 7/11/18 (review)

No reissues exist for any Markusfeld album as of 3/12/26.

Also own: Le Monde en Etages; Le Son Tombe du Ciel; Le Desert Noir

7/11/18 (new entry)

Friends / John Abercrombie (and related) ~ USA ~ New York

John Abercrombie Quartet - Arcade (1979)

A very pleasant and soothing album with particularly strong rhythm work. Very good on the whole (and better than the follow-up). Can't keep them all, and this is the sort of album I don't tend to gravitate to.

1979 ECM (LP)

2/24/22 (review)

John Abercrombie - Timeless (1975)

Timeless is one of those albums I thought I'd heard back in the day, but after plopping it on the turntable, it was quite apparent I had not. This is Abercrombie's debut with ECM, a few years after the brilliant Friends album. Joining Abercrombie for this session is the new "it guy" on organ and piano - Jan Hammer. And Jack De Johnette on drums. The mid 70s ECM sound was much rawer than what was to come, and here Abercrombie recalls Norway's Terje Rypdal with a decidedly psychedelic tone applied to the guitar. Hammer is having fun on the Hammond while De Johnette is definitely playing in jazz mode, versus a more anticipated rock. His drumming could be called "sporadic". Timeless is on the border of jazz rock and pure jazz. The opening 'Lungs' is definitely the highlight along with the proggy 'Red and Orange' and the moody title track closer. The other tracks are more acoustic and introspective, foreshadowing the label's own move into contemporary jazz. Overall it has some similarities to the aforementioned Friends release minus some of the Krautrock textures that fine band managed to unconsciously obtain.

Ownership: 1975 ECM Germany (LP). Acquired in 2021.

12/11/21 (review)

Abercrombie Quartet (1980)

Prior to this release, John Abercrombie had been a major player in the jazz rock field for some years, and we just mentioned him very recently on one of Billy Cobham's albums. And his best work, in my opinion, was with the band Friends, one of America's great hidden underground treasures (see below). Instinctively I kind of knew this was going to be too late in the game for me to appreciate much. And that preconceived notion proved to be true. Very adult. There's a reason ECM Jazz has its own genre. In fact, let me quote my thoughts on a recent post about Pat Metheny: "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. Likely will not keep." That.

1980 ECM (LP)

4/25/21 (review)

Friends (1973)

Underground America comes through once again. With Europe, especially in places like France and Germany, it's relatively easy to spot the pigeon. For every pop album, there was an experimental avant-garde release not far behind. But not the US of A. The land of the quick buck. No, you have to dig deep and far. And in all genres. Because you never know where the next great album lies. Friends. Yea, good luck in finding info with a name like that. But one name jumps out once you've been exposed to this treasure: John Abercrombie. What on Earth? That's TWO discoveries for me recently that features this well known ECM guitarist. The other being Stark Reality.

And since we spoke of Germany earlier, that's exactly where I'd guess this album had come from had I not known any better. Let's first discuss the lineup of instruments: Guitar, sax, bass and drums. Big deal right? We'll start with Abercrombie, since he's the marquee name thrown around. He was clearly in his Mahavishnu John era, and has no problem playing jazz guitar like Jimi Hendrix on steroids. So we already have an edge. Most of the bass work is stand-up, like I'VE NEVER HEARD ANYONE before. Louisiana born Clint Houston is all over his instrument, like a pissed off Jimmy Garrison. Love Supreme my ass - Hate Supreme and get out of my way homeboy. Drummer Jeff Williams puts in the most ordinary performance, and he's still nothing short of excellent. And then there's Marc Cohen. He MUST HAVE KNOWN Tim Belbe. Any jazzer reading this page is going who is Tim Belbe? But the Krautrock heads know - were talking Xhol Caravan here. Wah-wah, fuzz, phased, echo-plexed and just flat out tortured. What Mike Ratledge did to the Lowrey Organ is what Tim Belbe did to the saxophone. And Marc Cohen FREAKS OUT even more than Belbe did - at least on vinyl. Elton Dean might as well be Charlie Parker when we're in this game. So basically we have four long, very freaked out instrumental tracks of jazz rock underground avant insane madness. And it rocks like nobody's business.

This album is just ridiculous. Awesome.

Ownership: 1973 Oblivion (LP). Acquired in 2007.

Still not been reissued as I update this post (10/16/26).

10/19/07 (review)

6/22/09 (new entry)

Moolah - Woe Ye Demons Possessed. 1974 USA-New York

To put it succinctly, this is America’s Krautrock album. The real deal, circa 1974, not a revisionist history job, or a cheap hipster imitation. Moolah were the duo of Walter Burns and Maurice Roberson, who play a variety of keyboards, percussion, voices/tapes, anything that looked like an instrument, and other found sounds. And, naturally, all blown through the funz-a-poppin’ blender of studio trickery (backwards masking, phasing, filtered, you name it, it’s here). This is the type of album to compel Julian Cope to write volumes to the gods at the top of ziggurats. If I were half the writer Cope was, I would have a blast describing the imaginary movie that this soundtrack inevitably goes with. If someone blindfolded me, and said "Check out this unreleased Annexus Quam album that was to be originally issued on Ohr", I would’ve believed it... For a slice of pure underground subversive America, via Greenwich Village, you absolutely can’t go wrong with Moolah.

Ownership: LP: 1974 Atman. Single sleeve. Etched gold signatures. Online acquisition (2004). 

Sealed copies were available for many years, though I think it's dried up now. For years, this rarity was mislabeled as being on the relatively common Annuit Coeptis label (most known for US issues of German bands like Ramses and Bullfrog). The reality is the original private LP displays a dollar bill which, of course, leaves the Latin phrase intact. Though it didn't sell well in its day, most of the original pressings were preserved. The only CD is the Japanese pressing on EM from a decade ago. At first I thought it might be a bootleg, but it was confirmed legit, and the label has no history of pirating. It's a straight jewel case reissue with good sound, and no other extras. My best guess is permission was granted via e-mail. As such, since it offers nothing else, I decided to move it out.

1//2004; 10//2006; 2009; 2/14/2022 (new entry)

Wucan ~ Germany

Sow the Wind (2015) 

Their second full length album is reviewed below, and general wisdom has it that it's the greater of the two. But I liked this one better - really strong heavy psych / prog / Krautrock. The latter shows up in particular on the final 15+ minute track. By the time of the female narration in German, you know you're sitting on a near masterpiece. One of the better recent-era albums I've heard.

Ownership: 2019 Made in Germany (LP). Clear vinyl.

2/11/22 (acquired / review)
 

Reap the Storm (2017)

"This one took awhile to penetrate. Two full listens over 2 nights - with the always illuminating craft beer by my side - yielded nothing but confusion. OK - need to take this one to the car where I'm sober-as-a-judge and hyper critical. Most albums don't survive that. This one did." Part 2: Germany edition. Like the Superfjord album, Wucan provides a difficult-to-consume-on-one-listen extravaganza. And like Superfjord, Wucan provides a panoptic view of music, this time it's with a German focus, which explains why I probably enjoyed it more overall. Wucan are lead by Francis Tobolsky, and her vocals are a major part of the sound, along with her trusty flute. In this way, Wucan could be looked at as a German version of Blood Ceremony. But no, it's certainly not that, and Black Sabbath isn't really an influence here. Rather it's the classic Krautrock sound of the early 70s. With the strong feminine presence, Frumpy leaps to the front, though musically perhaps first album Tomorrow's Gift is more accurate. But then there's this early era 1980 NWOBHM style found on a couple of tracks. And a lengthy cosmic Krautrock piece, some Blues Pills like work, and even some Pilz label psychedelic folk. Most tracks are in English, but some are in German. So as you can tell, it's more of a compendium of the best of German progressive rock. In this way they're more like the 70s group Metropolis, or even the more modern Polytoxicomane Philharmonie. Yea, I'm name dropping like crazy here. And that's why it takes so long to grasp the album. Keyboards definitely take a backseat, and the guitars are driving the bus. Oddly there isn't anything extraordinary about Reap the Storm, despite all the great references. Perhaps it's too measured and studied, but all the same, if the bands above check in to your personal motel, then certainly Reap the Storm isn't to be missed.

Ownership: 2017 Hansel & Gretel (CD). Digipak. Informational booklet.

8/6/20 (acquired / review)

8/6/20 (new entry)

Mads Vinding Group ~ Denmark

Danish Design (1974)

There are two solid reasons to chase down this otherwise more typical fusion album: 1) Guitarist Janne Schaffer absolutely blazes on two extraordinary tracks (especially the opener). 2) The really cool album cover. For reason 1), on these two tracks, it sounds more like the Dutch hard hitting instrumental progressive rock of Finch, Bonfire, and Scope.

This is another case where the dates are confusing, as the album is copyrighted 1977 Sonet. But the original Swedish press is indeed from 1974, as it says on the label of that release. Considering the cover, it probably doesn't pass modern cancel culture, but I still think it's pretty awesome.  

No reissues as of 5/20/26.

Ownership: 1977 Peters (LP). Acquired in 2022.

1/18/11 (review); 2/4/22 (update / new entry)

Treacle People. 2006 Germany

Another nice discovery here. I remember when this came out, as I tracked it real time. Not really sure why I didn't pursue it, because the descriptions had my name all over it. Then again, there were seemingly hundreds of interesting new products coming out then, and I just didn't have the time or funds to pursue them all. Treacle People can easily be described as retro hard rock with Hammond organ. Very much sounds like an album of the 70s, and the tracks have a slight proggy vibe, typical of the German landscape a generation before. For fans of Birth Control, Jane, Nektar, Galaxy, Gift, etc...

Ownership: LP: 2006 World in Sound. Nice gatefold sleeve. Recent online acquisition and cheap at that. It's a bit surprising to me that LPs like this have actually depreciated in the marketplace. BTW, the date of the LP is clearly marked as 2006 on the back cover. I should add it to Discogs. All the discographies have this originally released in 2005, and it's possible the CD did come out then, but I cannot find visual evidence of that either.

new entry

Encyrcle. 2015 Denmark

Taking a break from posting about the commodities and collection revisits. Only so much time in the day. But definitely want to point out the more unknown pieces that need attention. Like Encyrcle!

I'm always on the lookout for retro bands who capture that weird strain of 80s metal - that bizarre amateur hour way of composing and putting things together. Seemingly without rhyme or reason, but not necessarily technical either. Denmark's Encyrcle is that band, and their sole album is just a fun listen. You'll see the band tagged with the speed metal genre, but it's way more interesting and meaty than that implies. This is far more Iron Maiden than Exciter if that makes sense. Nor is this the great late lost 80s tech thrash that I've been going on about for the last few years. There's some blast beats in here, but it goes perfectly with the compositions. The singer is perfect, no death growls and barks to endure, nor does he try to be Rob Halford. A couple of good Udo Dirkschneider (Accept) shrieks here and there, which is so perfect. There's some piano too, go figure that one out. Has some really killer riffs, and they're all placed where you want them to be. The production captures the era just right. If you like the more interesting aspects of 80s metal, you'll want to explore Encyrcle.

Ownership: LP: 2015 Dark Descent (USA). Single sleeve with lyric/picture inner. This will no doubt prove to be the pick of the litter from the 25 cent each find late last year. Dark Descent, as reported on the Crypt Sermon posts, are based here in Colorado Springs. In reviewing their entire catalog last night, 98% of what they release is death and black metal, so not to my tastes. Best I can tell, Encyrcle is the only album like this from the label. According to inside sources, they have done remarkably well from a sales perspective. More power to them!

new entry