Watermelon - From the Lemon Drops to Vibrations of Sequence in Order. 1970 USA-California (archival)

This is one of those bands I discovered via an original 45 (very obscure). I'd heard a sample of it, and was intrigued. In researching on Discogs, I couldn't find the 45 but I found this CD! And fortunately that super cool track ('African Song') is on this archival compilation. I know most of my audience is more prog geared than garage, and this comp was marketed towards the latter crowd. But it's for us! The Lemon Drops were a garage band from Chicago who released one highly sought after 45 in their lifetime. Since then, two full archival albums have emerged (I've not heard them). Followed by this title. We are left to guess that the Vibrations are the transitional group from one to the other (and a move to California). The liner notes are more free associative than informative. In any case, what Watermelon bring to the table is a sound I associate more with Group 1850 than anything you're likely to hear in America. Lots of instrumental psychedelia, with organ being prominent. My favorite 45 discovery so far is by a band called Gandharvas. You can find my notes here about them (and I remain the only person who seems to know this 45). Watermelon will give you some idea of that sound - as does Group 1850, especially on their singles. Not all of the tracks are dated, but the ones that are, come from 1970. And that's a bullseye for the era of this kind of sound. Albums like this are very few and far between. I think it's great. Need more time to take it to the first division, but this will be a long time keeper. Take the time to find this. It's already disappearing. 

Ownership: 1996 Collectables. Recent online acquisition (2023). As noted above, there are liner notes, but they seem incomplete. 

3/9/23 (new entry)

Prosper - Broken Door. 1975 Germany

Here's one I haven't heard in 16+ years since I wrote the below review for Gnosis. I had just obtained the CD to supplement the LP, and took it on a road trip with me, so I had a chance to absorb it fully. I had this personally listed as +1 over the rating sites. Must have forgotten to adjust online. Solid Gnosis 11. Here's that review:

---

Prosper were an obscure German band from the coal mining town of Bottrop. Like many private releases from the 1970’s, there is no sense of the audience, so there’s a lack of focus in the material. Which isn’t necessarily a bad thing. The album’s opening is clearly operating in King Crimson's Starless and Bible Black territory, with long stretches of experimental sound offset by ultra tight guitar centered sequences. A very promising opening indeed except… that’s pretty much the end of that style. From here out there’s vocal centric acoustic balladry, Eloy styled hard/symphonic rock, a lengthy chops heavy fusion oriented piece with great guitar and electric piano, some southern fried Allman Brothers boogie via Cologne, atmospheric space rock with violin, a short drum solo, and an instrumental Novalis meets Return To Forever styled melancholic closer. It’s the 1970s smorgasbord, and much better than it might seem, as Prosper were able to execute on each style effortlessly and perhaps better than many of their counterparts.  Guitarist Evert Brettschneider was a member of The Contact Trio while at the same time playing for Prosper. Other past and future members of Prosper were involved with bands as disparate as Wallenstein, Aera, and Chicken Bones. By 1980, Prosper were dead, gone and buried with only this 1975 album to show for their troubles (there was a second archival release from 2006). 

---

I slightly edited the above for relevancy and a couple of mild observation changes. Good stuff all around.

Ownership: LP: 1975 private. Single sleeve. Like I said recently about Dragon's Scented Gardens for the Blind, the early days of ebay had treasures like this for reasonable prices (less than $200). The heavy hitter collectors had yet to discover the medium. If I recall right, this came straight from Germany (2001). Perfect NM to Mint copy too. I decided to part with the supplemental CD as it offered nothing more than a history, and the music doesn't warrant owning both. A fantastic history though, as is usual for Garden of Delights. I've preserved the contents offline.

2001; 11/7/06 (Gnosis); 3/8/23 (new entry)

Cynara ~ USA ~ Boston, Massachusetts

Cynara (1970)

---7/9/14

One of the more interesting American groups from the late 1960's was a Boston based band called Listening, who released one superb album on the Vanguard label. Cynara is the band that formed from the ashes of Listening. Their sole album is an eclectic mix, just as Listening was, but not near as groundbreaking, rocking, or exciting. The first side is pretty much straight up organ rock, while the flip is filled by two long compositions with a jazz piano/organ lounge feel throughout. Yet another USA major label album from the confused year of 1970.

---3/6/23

I took a different approach last night and listened to this from a jazz perspective rather than rock. After two listens, I determined that's how Cynara works best. There's some similarities here to what Brian Auger was doing with Oblivion Express as but one example. Side 2 is the obvious jazz side, but side 1 does possess similar qualities, though on initial impact you could be forgiven for thinking it's straight up hard rock. It's a very odd release, and it has no commercial potential whatsoever. How cool is it, though, that Elvin Jones is the drummer on the last and longest track?

Ownership: 1970 Capitol (LP)

7/9/14 (review); 3/6/23 (update / new entry)

Brainticket (& related) ~ Switzerland

Celestial Ocean (1973)

If I were to be entirely objective, I would submit that Celestial Ocean best represents who Brainticket really were. It has both the psychotic nature of the debut with the measured progressive rock of Psychonaut. And honestly this may very well be my favorite album by the band. But they never go to the first division, always coming back to that solid Gnosis 11. There's just enough doubt on every listen for me not to list it as a favorite. Not sure what that magic ingredient is, but Brainticket doesn't have it, despite their radical approach to music. 

Ownership: 1973 RCA Italy (LP). Gatefold with poster. Acquired in 2015.

First copy: HF (CD). Unauthorized. Acquired in 1991.

1991; 2003; 2/15/23 (review)

Psychonaut (1971)

Brainticket's sophomore effort is much more melodic and in-the-rails than the insanity of Cottonwoodhill. At times I wish there were some psychotic ramblings - it's almost too safe. It's not even Krautrock (as we know the term), closer to traditional prog rock with female vocals. Solid stuff though, not one to leave the collection anytime soon, if ever. 

Ownership: 1971 Durium (LP). This is the real original and pretty scarce at that. Bellaphon licensed and released it in Germany to a much larger audience (one year later), including multiple pressings and importing it around the globe. Worth noting that this features the full artwork (see images), that the Bellaphon pressings obfuscated with a border. Acquired in 2014.

First copy: 1982 Bellaphon (LP). Acquired in 1990.

1990; 1998; 12/18/14; 2/1/23 (review)

Cottonwood Hill (1971)

One of the earlier Krautrock albums for me to obtain, Brainticket's debut could almost be considered an exploitive album for the movement, if such a movement existed real time. It's obviously very self-conscious of promoting its LSD nature, and the music goes to great lengths to prove it. For my tastes, I've always enjoyed the opening two tracks with the Leslie affected vocals. Adding flute and female vocals to 'Places of Light' makes that song the highlight of the album for me. The album is most known for its two part self-identifying 'Brainticket' opus. And like a lot of people, I feel it's too much of the same thing. Were I to edit, I would have taken 'Brainticket, Part II', which encapsulates best what the group is trying to accomplish. That would have left 12 to 15 more minutes of tracks like 'Black Sand' one would hope. In any case, this last portion has some of the most intense and freaked out parts of "Dawn"'s psychotic rambling. The bits with "Arthur" and the "communication breakdown between you and you" represent some of the crazier highlights. The improvised choppy Hammond riff, the insane female narration, and the sound effects are all legendary by now. Just wish there wasn't so much repetition.

Ownership: 

1971 Hallelujah (LP). Gatefold. You can spot the first edition by the numbered ticket "X 606" on the front cover. Sometimes I think I like the cover more than the music. Though some of the quotes are a bit silly in retrospect, but probably had impact at the time. As I said above - a bit exploitive. Acquired in 2015.

1977 Bellaphon (LP). Gatefold. Acquired in 1988.

1989 Bellaphon (CD)

10/8/88; 10/18/12; 6/30/22 (review)

Formerly owned: Adventure; Industrial Retrospect

6/30/22 (new entry)

Triana ~ Spain

Sombra y Luz (1979)

---Jun 2005

This album is more rock oriented than the predecessor, with some amazing fuzz guitar on the experimental psychedelic title track. All throughout, the album has a strong guitar focus, and the keyboards are pretty much gone except as incidental background music. Since the keyboardist is also the vocalist, one can appreciate why he would turn his attention solely to singing. He is quite good.

---2/15/23

This is one of those albums that I had properly rated in my collection but had it lower on the rating sites. So not really a +1 listen, just calibrated correctly. Triana's first three albums are the definition of Rock Andaluz, and while Sombra y Luz doesn't have the extreme highs of the debut, there's plenty of deep moments here. 

Ownership: 1979 Movieplay (LP). Gatefold. Acquired in 2012. 

First copy: 2005 Fonomusic (CD). Tri-fold digipak. Acquired in 2005.

6//05; 2/15/23 (review)

El Patio (1975)

---Jun 2005

The flamenco prog rock movement in Spain can be traced to this album, Triana's debut. Long time dictator Franco passed away in 1975, and that event seemed to spawn a host of interesting rock groups interested in rediscovering their historical past, something Franco was loathe to promote, in fear of patriotic regionalism. Triana was so popular in their native Spain, that it wouldn't be too unusual to find a well played cassette in grandma's closet. Dramatic Arabian vocals, fuzz guitar, mellotron, organ, Moog and plenty of great flamenco guitar. Fantastic compositions all the way through. There are two bona-fide great tracks here: Track 3 `Recuerdo De Una Noche' followed immediately by `Se De Un Lugar'.

Ownership: 

1975 Movieplay (LP). Gatefold. Acquired in 2012.

2003 Fonomusic (CD). Tri-fold digipak. Acquired in 2005.

First copy: 1984 Fonomusic (LP). Gatefold. Acquired in 1991.

1991; 6//05; 2/14/10 (review)

Also own: Hijos Del Agobio

2/19/10 (new entry)

Zao - Z=7L. 1973 France

---Mar 2006 

Zao's first and, arguably, best album. The first and last tracks are the most challenging, especially when considering the operatic scat vocals, which can be a soprano shriek or a frightening guttural growl. They're a bit more abrasive and experimental on these bookend tracks than what is found on the rest of the album. Joel Dugrenot shows off his bass chops worthiness here and gives Top / Paganotti / Moze a run for their money. My-Troung is outstanding behind the kit trying to keep up. Cahen and Seffer can carry any melodic line, and it's just this characteristic that makes the album special.

---2/14/23

Last night I heard this for the first time in 17 years and Z=7L continues to impress. Also it occurred to me while listening that this album sounds like Embryo (especially with Maria Archer) trying their hand at Zeuhl.

 It's been said that the title Z=7L is a play on the word Zeuhl.

Ownership: LP: 1973 Vertigo. Gatefold. Acquired in 2020.

My first copy was the single sleeve Cryonic reissue purchased back in 1987, which was replaced by the CD above.

1987 (first listen); 1995; 3//06 (review); 2/14/23 (update/new entry)

Free System Projekt (& related) ~ Netherlands

Gent (2007)

---6/3/07

The Dutch collective Free System Projekt have long been considered one of the finest groups playing in the Berlin School revivalist style. Raging sequencers, mellotron overlays, and analog synthesizer soloing are the order of the day.

---4/14/23

And that's exactly what this album brings. I really do own too much of this kind of thing. I loaded up throughout the 2000s for whatever reason. It's a great example of the style, but not the very best (including from Free System Projeck themselves). And I have plenty of the latter to keep me happy.

Former ownership: 2007 private (CD). Acquired in 2007. Downsized in 2026.

6/3/07 (notes); 2/3/23 (update)

Free System Projekt & Dave Brewer - Okefenokee Dreams (2000)

There are few bands that emulated Tangerine Dream's mid 70s years as effective as Free System Projekt. At this point FSP was just Marcel Engels, and on the first Okefenokee gathering, he's joined my American electronic musician Dave Brewer.  They go about creating 73 minutes of sequencer based Berlin School music. No surprises here at all. Honestly I have too much of this kind of music, but I have a soft spot for this title, as it was one of the earliest revival CDs I had picked up (real time when it was released). For the next 6 years or so, I loaded up on dozens of titles like it. I have already begun to shed some of those titles, selling to an audience still hungry for anything and everything Tangerine Dream like. But I won't do that with Okefenokee Dreams. Not so much because it's that much better (it's not), but rather its place in my personal history.

Ownership: 2000 Groove Unlimited (CD). Booklet with a photo. Acquired in 2001.

2001; 4/19/20 (review)

Protoavis (2004)

The hard part about reviewing any Free System Projekt album, at least from this era, is trying to come up with something new to say. I suppose figuratively one could make a similar claim about FSP - that is, musically they have nothing new to say. But nothing new, while still being great, are not mutually exclusive comments. On Protoavis, Free System Projekt have completely zoned in on the 1974-1975 era of Tangerine Dream, where the sequences remind one of Phaedra and the overall atmosphere and style are more toward Rubycon. This is my personal favorite years of Tangerine Dream, so of course I'm going to enjoy Free System Projekt. Not enjoyment at the same level mind you - one cannot replace the magic of initial discovery in one's youth - but the familiarity makes it comfortable. A safe place to cuddle up in.

Former ownership: 2004 Quantum (CD). Acquired in 2007. Downsized in 2017.

6/1/07; 9/24/17 (review)

Atmospheric Conditions (2002)

Atmospheric Conditions is a two CD set compiled of various outings from 2001 and 2002, including live stints in the USA and England. The Dutch collective Free System Projekt have long been considered one of the finest groups playing in the Berlin School revivalist style. Raging sequencers, mellotron overlays, and analog synthesizer soloing are the order of the day. Though the various tracks are all improvised, the sound is remarkably consistent, and the end result seem like variations on Tangerine Dream's Rubycon. In my mind, that is T. Dream's finest moment, so any group who can emulate that same composition style are much welcome here.

From Discogs: Instruments used: Access Virus A, Arrick Synthesizers.com modular system, Yamaha A 3000 sampler/w Mellotron set, Yamaha A 4000 sampler/w Mellotron set, Doepfer MAQ 16/3 sequencers (2x), Clavia Nord Modular, Clavia Nordlead II, Eminent Solina Strings, Elka Rhapsody 610, EMS Synthi A, Arp Pro Soloist, Roland JP 8080, Korg MS-20, Korg MS 2000R, Yamaha S-30, Yamaha TG 500, Boss CE-1, Boss SE-50, Boss SE-70, Ensoniq DP/2, Lexicon MPX 100, MXR Phase 100

Track 1-1 played live at the Gathering, Ocober 13th, 2001.
Track 1-2 played live at Jodrell Bank, March 30th, 2002.
Track 1-3 played live at WDIY EMUSIC, October 12th, 2001.
Track 1-4 played live at Hampshire Jam, October 27th, 2001.
Track 2-1 played live at Ruud Heij's studio during the sessions of summer 2001.
Track 2-2 played live at Star's End radioshow, October 14th, 2001.
Track 2-3 played live at Ruud Heij's studio during the sessions of summer 2001.
Track 2-4 played live at Jodrell Bank, March 30th, 2002.
Track 2-5 Echoes feature: Free System Projekt's Spontaneous Creations. Produced for Echoes, the radio program of ambient and world fusion music heard on stations across the United States.

Ownership: 2002 Quantum (2xCD). Acquired in 2003.

2003; 9/14/16 (review)

Moyland (2005)

Free System Projekt is yet another band we're featuring here that comes from the Tangerine Dream retro movement, that is found more predominantly in the UK, but also has a huge following in the Netherlands as well. When Tangerine Dream moved in a different direction following their "Virgin" years after 1983, no one really took the baton and ran with it. Now that doesn't mean electronic music died. Not even close. There were tons of other artists operating in this field, almost all of them solo acts, and none had the massive amount equipment that Tangerine Dream possessed (other than maybe Klaus Schulze of course). And as any fan of classic Tangerine Dream will tell you, it's a style of music that has many possibilities. The key to success is not only a large amount of both old and new keyboard toys, but it also helps to have more than one bandmate - for the synergy of ideas that multiple people can create.

The big names in the Tangerine Dream renaissance are the British bands: Radio Massacre International, Redshift, AirSculpture, Under the Dome, Arc and many more. And the main representative in Holland is Free System Projekt. And truth be told, FSP are probably the most sycophantic to the original T. Dream sound (especially the Baumann trio years). But it's still highly original music within the confines of the style. It's as if someone uncovered numerous more Tangerine Dream recordings from 1974-1977. You can't wrong with a Free System Projekt album, at least of the ones I've heard, and that's most of them. Moyland is but only one great example. If you love complicated sequences, with mellotron overlays and wild synth soloing - then Free System Projekt is for you.

Ownership: 2005 Quantum (CD). Booklet with recording details. Acquired in 2010.

2/15/10 (review); 7/18/26

Also own: Okefenokee Dreams 2001; Hampshire Jam Preserved

2/15/10 (new entry)

Mekong Delta ~ Germany

The Principle of Doubt (1989)

About a dozen years ago I did a complete retrospective on Mekong Delta, easily one of my favorite progressive thrash bands. But I left this one out. I think I was planning on selling it. Glad I didn't. This is their 3rd album, but unfortunately it went back to the production of the debut. It's just terrible really. But a close listen demonstrates all of those endearing Mekong Delta traits. Complex music but dirty and grimy. None of that effeminate Dream Theater stuff here! lol.

Ownership: 1989 Aaarrg (CD). Booklet with lyrics. Acquired in 1993.

1993; 2010; 2/2/23 (review)

In a Mirror Darkly (2014)

After 27 years, Mekong Delta keeps going at a high standard with In a Mirror Darkly, an album that sounds like a cross between its two studio predecessors Lurking Fear and Wanderer on the Edge of Time. The hyper complex technical thrash returns, but with a strong dash of accessible material as well. The opening two instrumentals recall their 2010 opus, as does the complex instrumental 'Inside the Outside of the Inside'. And there are a couple of more accessible vocal oriented progressive metal tunes here like 'The Sliver in Gods Eye' and 'Janus'. But for those looking for the heavier, more murky and mysterious trademarked Mekong Delta material, then 'The Armageddon Machine', 'Hindsight Bias', and 'Mutant Messiah' will certainly delight. As with Lurking Fear, these tracks should be heard on headphones only, as there are lot of ideas thrown out that will be only picked up with careful listen. There isn't any of the jaw dropping greatness of a track like 'The Apocalypt - World in Shards', but overall the album is an impressive listen. Mekong Delta, since their reformation, may have not regained the heights of their early 90s formation - but they have proven to be more consistent in their wizened old age. Let's hope they continue and ultimately surpass what they accomplished over 20 years ago.

Ownership: 2014 Steamhammer (CD). Acquired in 2014.

8/27/14 (review)

Lurking Fear (2007)

After 13 years of dormancy, Mekong Delta return with Lurking Fear. Or I should say founder Ralf Hubert returned with a whole new crew in tow - all experienced and talented metal warriors (you know a band's been around the block when the "youngster" is 37 years old). Unlike progressive rock bands from the 70s, most metal groups' reunion efforts tend to be very good. I've long held the belief this is because the metal groups (many who came about in the sordid underground of the 1980s) understood their core client base far more than the bands from the 70s who were still aimlessly looking for radio hits. Not only did Mekong Delta take a long vacation, but so did the entire technical thrash movement they helped invent. So it turns out Mekong Delta's reunion also ushered back in a most welcome style of music, that has since gone on to be popularized more so than ever by a once obscure Phoenix area band known as Vektor (whose 2009 debut is considered the 3rd highest ranked album according to RYM for all albums (yes, that's right, from a technical thrash band!!)). So exactly where did Mekong Delta look for inspiration for their comeback? Of course I would have hoped for Dances of Death, but instead they chose The Music of Erich Zann, which is certainly not a bad choice at all. This is gritty stuff. Highly complex music, with some orchestrations, that is also deadly in the thrash department. The riffs are solid, and are given just enough space to stand out among the insane amount of ideas thrown around. There are even some real melodies here, which is something of an accomplishment in this field of music. I'm telling you folks, this is headphone music only. I tried listening to it in the car recently, and I just couldn't give it the focus it requires - and it sounded like a big pile of goo. Sitting down with a real stereo and listening intently with headphones (and a craft Imperial IPA of course), really opens this one up. Lurking Fear is not to be missed.

Ownership: 2007 Locomotive (CD). Acquired in 2010.

12//10; 8/26/14 (new entry)

Visions Fugitives (1994)

Visions Fugitives followed the excellent Kaleidoscope, and it seemed the band just went off into the ether afterward. Even back then, the album received little promotion or accord, and few paid much attention to it. I managed to secure a reissue CD copy many years after the original release on the German label Zardoz (mind you I was a fan of the band at the time - so perhaps that underscores what I'm saying about how obscure the original release was). The first opening two tracks could have easily been on Kaleidoscope, and 'Imagination' adds a very interesting psychedelic element here, not a sound commonly associated with aggressive metal. This is followed by the six part, 21 minute orchestrated suite. If you look back on Mekong Delta's career to this point, it would almost seem obvious this would be the conclusion of where they were headed. And while many fans shake their head in disgust, I think it's a fine addition to their catalog. I appreciate that the classical music isn't based on standards, but rather all the compositions are originally charted for this album. The Swedish band Therion would later take this concept to more grandiose heights, but Mekong Delta were pioneering this concept all the way back to the late 80s (sure, many a rock band did the same in the late 60s - but not in the thrash metal field had this been a common practice). Now one criticism that I also will get behind - is that there isn't really an orchestra! Oh for crying out loud - you write something for an orchestra than at least have one to perform it! Synthesizers aren't going to get it done. Oh well - I still appreciate the effort applied here, at least from a compositional perspective. Even if the long suite doesn't satisfy, Visions Fugitives closes nicely in the same fashion as the opening, complete with a psychedelic overtone added to the vocals, and acoustic guitar interludes. After this, Mekong Delta appeared to call it a day, seemingly accomplishing everything they had set out to do.

Ownership: 2002 Zardoz (CD). Acquired in 2002.

2002; 8/25/14 (review)

Kaleidoscope (1992)

Kaleidoscope is a great follow up disc to Dances of Death. Mekong Delta were at their creative peak by this point, with a jaw dropping cover of Genesis' 'Dance on a Volcano' (Progressor of Uzbekistan (RIP) once said "maybe the best metal cover ever"). Also a fascinating version of Khachaturian's 'Sabre Dance'. I don't typically go for classical covers, but Mekong Delta tend to do them better than the rest. As for the other 40 minutes of original material, it's an extension of Dances of Death, but more refined and slightly less chaotic. Dances of Death is the 'Manticore' of progressive metal stretched over an entire album and still remains my favorite progressive thrash album ever. This may well be their next best then.

Ownership: 1993 Intercord Japan (CD). Acquired in 1994.

1994; 2004; 2010; 8/24/14 (review)

Dances of Death (1990)

On their 4th album, Dances of Death, Mekong Delta laid down the progressive thrash album for the ages. The title track is like the instrumental segments of Emerson Lake and Palmer's Tarkus stretched to 20 minutes. It just keeps going and going... and going. At neck breaking speed. Meter change after complex meter change. If you're not seeing a chiropractor after listening to this then... you're just not listening to this! Doug Lee hits all the high notes while Ralf Hubert propels the whole thing along via his gymnastic bass. Uwe Baltrusch's guitars are just insane. And the playing is tight, tight, tight! And what amazes me most? It's a 20 minute composition that clearly is one composition. Not eight different songs under the banner of a suite (cough, cough.... Fates Warning, Dream Theater). What a ride. The two shorter pieces are great, similar to what you would hear on The Music of Erich Zann. This leads into the de facto version 'Night on a Bare Mountain'. Yep, that's right - that old classical piece and progressive rock cover chestnut. This is the definitive version. You'll never hear the composition the same again. In fact, you won't hear a thrash metal album again the same. What a monster of an album.

Ownership: 1991 Aaarrg Japan (CD). Acquired in 1996.

First copy: 1990 Aaarrg (LP). Acquired in 1993.

1993; 1996; 5/14/06; 8/23/14 (review)

  

The Music of Erich Zann (1988)

The Music of Erich Zann is a huge improvement on their muddled debut. The music is still raw, but the production gives the instruments clarity. And when you play as complex and fast as Mekong Delta does, then this aspect of their overall sound is highly important. Perhaps 'True Lies' is the ultimate example of this era of Mekong Delta. Complicated, thrashy, yet melodic. In control. 'Interludium' was my initial introduction to the band, as it was played - perhaps unbelievably - on a local radio station in Dallas back in 1988 (!!). It was one of their first collaborations with orchestra and highly successful at that. And the Dead Can Dance styled closer 'Epilogue' is disarming. Overall, a definitive statement in the progressive thrash genre. Definitely a good place to start with this excellent band.

Ownership: 

1988 Steamhammer (LP). Acquired in 1988.

2002 Zardoz (CD). Acquired in 2010.

1988; 11/27/10; 8/20/14 (review)

Wanderer on the Edge of Time (2010)

One of the challenges in appreciating Mekong Delta is that their relentless complexity can be difficult to penetrate, especially on albums where the production isn't crisp (their early days in particular). What if Mekong Delta dialed back the intensity and mathematics, while still maintaining their heavy symphonic approach, but with a crystal clear production? Wanderer on the Edge of Time is the answer to that question. Mekong Delta always had a penchant for blasting out thrashy, but complex progressive rock oriented, instrumental interludes ('Intermezzo' being the highlight of the nine (!) instrumentals here). This is no doubt an homage to Ralf Hubert's fascination with ELP's Tarkus suite among other Emersonian classical interpretations / original compositions. Here they intersperse these interludes with more song oriented material. The latter represents somewhat of a departure for the band - something they explored briefly on Kaleidoscope. But fear not, as the band performs perhaps their best progressive thrash metal track to date with 'The Apocalypt - World in Shards'. If Lurking Fear is the successor to The Music of Erich Zann, then Wanderer on the Edge of Time would be the inheritors of the Dances of Death / Kaleidoscope era with a bit more melodic consideration. Another excellent addition to the Mekong Delta legacy.

Ownership: 2010 Aaarrg (CD). Digipak. Poster booklet with lyrics and artwork. Acquired in 2011.

7/25/11 (review); 8/19/14; 5/6/26

7/25/11 (new entry)

Falstaff ~ France

Prononcez G. (1981)

This one comes from the CDRWL, though it's a title I've owned since the mid 90s. For my tastes, this is an album that continues to rise and I enjoyed a +1 listen earlier in the month.

Falstaff's sole album is a light, easy going, instrumental symphonic rock. A little funk, and a little jazz to spruce things up. Recalls Camel, or perhaps more to the point, Rousseau's first two albums. The usual French compressed fuzz guitar sound, and a preponderance of Fender Rhodes helps matters. For those who enjoy their progressive rock with an emphasis on melody versus showmanship.

Ownership: 1981 private (LP). 

No reissues exist as of 3/31/25.

1994 (first listen); 6/15/07 (review); 11/20/12; 1/5/23 (new entry)

Delired Cameleon Family - 'Musique Du Film "Visa De Censure N°X" De Pierre Clementi. 1975 France

After some 20+ years since my last listen, my opinion of this album remains unchanged. Not likely to ever go up or down at this stage. My Gnosis review below is where I still stand (slightly revised):

Around the same time of Forever Blowing Bubbles, another Cyrille Verdeaux project began. Delired Cameleon Family is basically Clearlight in disguise composing music for an obscure film called Visa de Censure Numero X. Essentially this film is a one hour dialogue-less music video. The musicians on this effort are a combination of those found on the first two Clearlight LP's and the music is an amalgam of both. The opener 'Raganesh' is an Indian percussion driven piece similar to the last moments of '1st Movement' from their debut. Meanwhile 'La Fin du Debut' recalls the female vocal-lead tracks found on Forever Blowing Bubbles. Overall the album is much more tripped out and loosely improvised than the Clearlight albums proper. In fact, I could see Delired Cameleon Family fitting comfortably on the German Kosmische Kouriers label. Throughout the album, Verdeaux's familiar nervous staccato piano remains as his signature sound.

Ownership: LP: 1975 EMI. Single sleeve. Acquired at VVV in Dallas in early 1988.

1988; 4/21/01 (Gnosis); 1/29/23 (new entry)

Stud. 1975 USA-Texas

One of the better underground hard rock albums from the mid 1970s American scene. Stud is a band from Houston, Texas and who deserve special mention given that they aren't solely dedicated to booze, broads, and rock 'n roll. There's some of that - of course there is - but there's also three lengthy pieces (including two over 12 minutes) and one impassioned folk rock number. The songwriting isn't particularly memorable, and Stud are the band you went to go see last on your pub crawl - when you wanted to vegetate to jammin' sounds. A hard rock album is usually only as good as the guitar player, and here Stud shines mightily. Sit back and enjoy the moment. A point in time to reflect upon.

Ownership: CD: 2015 Out-Sider/Guerssen. Jewel case with historical liner notes.

Originals were pressed in a run of 200, and are extinct. 

1/29/17 (first listen/review/new entry); 1/26/23 (update)

King Crimson - Beat. 1982 England

Another cleanup item from last year.

This is an album that fell through the cracks and is the first time for me to hear. I bought Discipline a couple years after release, and as I said on that entry, it wasn't a sound I was immediately drawn too. I liked their earlier stuff better. It's only in recent years that I've come to appreciate Discipline as one of their best albums. For whatever reason I did pick up Three of a Perfect Pair pretty much the day it came out. It only underscored my feelings towards Discipline at the time. All the same I still have that copy to this day. But what of Beat? I figured why bother, since I'm sure it sounds like the other two bookends and I have gobs of music to acquire (especially back then). And in hearing Beat, that assessment was quite right. Which is why I think it's great now! Timing is everything. Definitely a step down from Discipline though, as is Three of a Perfect Pair. I also didn't realize that Beat referred to the writer movement of the 1950s, which is cool too. Glad to finally be acquainted with this album.

Ownership: LP: 1982 EG (Germany). Single sleeve. Recent online purchase (2021). I never find KC in the wilds - at least on the cheap.

6/12/22 (LP 3.12); 1/6/23 (new entry)

Black Sabbath - Technical Ecstasy. 1976 England

The album that proved Black Sabbath were no different than any other group trying to survive the late 1970s. As I often say about Hendrix or The Doors, their untimely death only prevented them from their time in the barrel of ridicule. They (and others) would have been no different. Heck, The Doors were already well on their way towards garden variety FMness (word of the day). 

Anyway, the precipitous drop-off from Sabotage to Technical Ecstasy requires a chiropractor to get you straight again. While I know I'm in the minority here, Sabotage remains my favorite Sabbath album, and I love them all to that point. Not to suggest that Technical Ecstasy is not worthy of ownership (hence I'm featuring it) but rather just how ordinary it was for its time. It's primarily a straightforward hard rock album. Now I will argue that all of the Sabbath albums up to that point were hard rock. They may be credited with inventing - or at least popularizing - heavy metal, but they really were children of the 60s still. And if anything, they were gravitating more towards prog than metal. But the late 70s required survival. FM radio ruled supreme, and it was all business. The stakes were enormous back then, and stadium sellouts were the expected norm. No home video games existed so as to be the opiate of the masses. Rock concerts provided that necessity. Sabbath were trying to play ball, and came up with a very good album despite efforts to the contrary. Tracks like 'Rock 'n' Roll Doctor' were just not designed for them. Maybe their buddies in Blue Oyster Cult, but not Black Sabbath. Well they continued the downward slope on Never Say Die, until ultimately Ozzy had to go. When a one Ronnie James Dio showed up, Black Sabbath were revived, and they knew exactly who they were by then - a metal band.

Ownership: LP: 1976 Warner Bros. Single sleeve. Weird cover. Again, not very Sabbath like. Though I do admit to liking it despite that.

1985; 2014; 1/5/23 (new entry)

Gentle Giant - In a Glass House. 1973 England

Coming into this listen, I had all the Gentle Giant albums up to Free Hand rated as a Gnosis 11. Except this one which was at a 10. Why? Probably because it's the one I haven't heard in the longest time and had already made the proper adjustment. Analytics can be irrational like that sometimes. Anyway, this listen bumped it up by the obligatory +1. Gentle Giant has never transcended the threshold to greatness for me. They are a completely left brained listen, while my right brain takes a nap. I've never emotionally connected with this band, and that's what makes my favorite albums special. Maybe one day they will - but time is getting shorter. But all the LPs are here and accounted for, in case that ever happens. Interesting to note this is my first feature of a Gentle Giant album on any forum. Probably because I can't come up with anything to say. Still can't.

Ownership: LP: 1973 WWA. Single sleeve. Discogs says of the cover: "Album comes in a gimmix cover with the center part of the jacket front side being transparent foil with black print on it; there is a printed cardboard insert that provides the remainder of the cover image." Was never released in the US during the LP era, thus making it by far the hardest GG album to score back in the day.

1990; 1/5/23 (new entry)

Wolfgang Dauner ~ Germany

Wolfgang Dauner's Et Cetera - Live (1973)

Live is Wolfgang Dauner's final album in the trilogy for his Et Cetera project. A combination of experimental jazz and tight fusion. Not unlike the prior two albums, but a bit more loose given the live setting. This week's listen did not change my rating.

Ownership: 1973 MPS (2xLP). Gatefold. 

2/10/02 (acquired); 1/5/23 (review)

Wolfgang Dauner's Et Cetera - Knirsch (1972)

A mixed effort from Dauner, Knirsch combines the higher key heavy fusion of Mahavishnu Orchestra with Et Cetera's affliction toward experimental free jazz. On board for this excursion are noted jazz guitarist Larry Coryell, Colosseum's Jon Hiseman (drums), and long time Dauner contributor (and future Exmagma member) Fred Braceful on hand percussion - the all-star cast proves up to the challenge of mixing these diverse styles. Dauner himself provides a nice variety of keyboards from traditional Clavinet, piano, Mini-Moog, and Rhodes onto off-key analog electronik instruments for the most "out there" segments. Some of the experimental bits go on for too long, as was common from this era of jazz rock, but still a very worthy addition for any underground fusion collection. Final piece 'Yin' is my personal favorite and closes the album in fine fashion.

Ownership: 1972 MPS / BASF (LP). Gatefold.

5/28/09 (review); 11/18/20 (update) 

Wolfgang Dauner Quintet - The Oimels (1969)

The Oimels is square on Strobe-light Mascara-caked Babe-a-liciousness. Dauner was no baby boomer, and this album represents the pure escapism of his generation whose collective childhood was nothing but a total living hell. And while Dauner is most known for his serious avant-garde jazz work, why not take a stab at creating the perfect soundtrack for a night at Lucky Lou's circa 1969? You know you're in a special place when track titles like 'Take Off Your Clothes to Feel the Setting Sun' and 'Come On In On In' sound like a good idea. And a swingin' version of 'Greensleeves' to sway your hips Hullabaloo-style with. YEA BABY!

Ownership: 2006 MPS Japan (CD)

7/21/16 (review)

The Wolfgang Dauner Group - Rischka's Soul. (1970)

Recorded November 28, 1969, Wolfgang Dauner's Rischka's Soul (aka Dietrich's Soul) comes more from the restless jazz school, than the subversive underground that was just beginning to brew in Germany at this time. Dauner was no doubt a major influence, and perhaps even an inspiration, to those looking to expand the music norms of the day. Krautrock, as we know it today, had its founding during this era, but it didn't come from the mainstream, of which Dauner was a part of. The album was mostly known from its posthumous release on Brain, though it wasn't a contemporary recording. Still, without a doubt, Dauner was a pioneer in mixing psychedelic rock and jazz seamlessly. Much of this album sounds like the ultimate backdrop to a "happenin' club scene" to a 1970 art film, with the participants suitably stoned out of their bloomin' minds and squinting wildly while the Klieg lights were beaming off their freshly scrubbed cheeks. Whether the youngsters were dancing or meditating, Rischkas Soul was providing the soundtrack to their soul searching odyssey of utopian dreams. One of the better time-and-place albums of the day, and a must pick up for fans of 1969 era jazz rock. Just don't expect cutting edge Krautrock here.

I had no idea until somewhat recently that the Brain press was actually a reissue of an earlier recording. The CTR (Creative Team Rischka) release is still unknown and pretty much extinct. The title was originally to be called Dietrich's Soul. But I guess Rischka won the contract and also apparently got the naming rights too! 

From the CD reissue we learn the story behind what the "Sounds" label on the front cover means (it's also on Guru Guru's 4th). It was a "seal of approval" from the magazine of the same name.

Ownership: 1972 Brain (LP). Gatefold. Acquired in 2003.

1/22/03 (first listen); 5/28/09; 9/26/15 (review); 2/15/23

Wolfgang Dauner's Et Cetera (1971)

Wolfgang Dauner was one of the true pioneers of the late 60s German jazz scene. And so he was a natural to experiment with rock’s energy and sounds, and combine them with his vision of free jazz. The opening track features a driving staccato synthesized organ sound (somewhat akin to Supersister or Soft Machine) mixed with some freer jazz structures that can be a bit much in places. The next three tracks are Dauner at his best, mixing an array of ethnic/world music (mainly Eastern) with some psychedelic rock and modal jazz. The album closes with a free jazz piece, which gets away from my personal tastes. So the opener and closer keep this from being a classic for me – but one that I still hold in high esteem. 

The CD reissue adds an additional three bonus cuts, and the LP appends one more with 'An Open Can' (12:35). These 4 tracks collectively were recorded at the same time as the album proper, and so are musically similar. That is to say they are at the crossroads of psychedelic rock and reckless jazz - though I'd submit these bonus tracks are tilted more in favor of the former, which is a good thing in my book.

Ownership: 2011 Long Hair (2xLP). Gatefold. This reissue includes the same liner notes and three bonus cuts as the CD, plus one more lengthy - and excellent - track; 2008 Long Hair (CD)

5/28/09 (review); 1/6/14 (update)

1/6/14 (new entry)

Area ~ Italy

Crac! (1975)

Area's 3rd album and arguably their most crisp and together. It largely avoids the free noise components of their other albums. Because of that I enjoyed a +1 listen. I've never been that intimate with this album, and already the contents are disappearing in my memory. Arbeit Macht Frei is on the listening docket, not sure which of these two are my fave by Area (with special mention to 1978 gli dei se ne vanno, gli arrabbiati restano!). In comparison to my peers, I'm definitely not going be part of their cheerleading squad.

Ownership: 1976 Cramps (LP). Gatefold. Acquired in 2021.

First copy: 1995 Cramps (CD). Acquired in 1995.

1995; 2013; 1/5/23 (review)

1978 Gli Dei Se Ne Vanno, Gli Arrabbiati Restano! (1978)

An interesting close out to Demetrio Stratos' career before his untimely death. Starts off in strong fusion territory, but ultimately goes all over the place. Which isn't necessarily a bad thing. I've never been a huge Area fan - in fact of all the bands that I haven't embraced over the years, it would seem Area would be the one that I'm the most diametrically opposed. That's not to say I don't enjoy their albums, I most certainly do, but they have long spells of experimental noise that doesn't appeal to me. When reflecting on the band, the element I enjoy most are the vocals, which ironically might be the most experimental aspect to their sound. In the scheme of things, as strange as '1978 Gli Dei Se Ne Vanno, Gli Arrabbiati Restano!' is within the Area discography, I'd probably rank it 3rd behind 'Arbeit Macht Frei' and 'Crac!'. Wouldn't expect to receive much support for that position. 

Ownership: 1978 Ascolto (LP). Gatefold with full recording details and photos. Acquired in 2004.

First copy: 1999 CGD (CD), Acquired in 2000.

2000; 2004; 9/21/20 (review)

Arbeit Macht Frei (1973)

Very well known album that needs no introduction. For my tastes, this is my favorite Area album, closely followed by Crac!. I'm not a huge Area fanboy as many of my friends and peers are, as I tend to shiver at Area's more avant garde and free-jazz moments. Thankfully those are kept at a minimum on their debut album, where the tight unison ensemble work allows Stratos to showcase his unconventional vocal style, which I do enjoy when not done to excess.

Ownership: 1973 Cramps (LP). Gatefold. Doesn't have the paper gun insert. Acquired in 2000.

First copy: 1995 Cramps (CD). Acquired in 1995.

1995; 2000; 10/6/11 (review); 11/14/17; 1/6/23

Previously owned: Caution Radiation Area; Maledetti; Areazione

10/6/11 (new entry)