Samla Mammas Manna (& related) ~ Sweden

Kaka (1999)

I bought this when it came out and gave it quite a few listens on my commute to work back then. I had high hopes that it would have aged well for me. But unfortunately it didn't. It's true to their legacy, and mixes progressive rock with carnival like sounds and motifs. I kept a few of the classic 70s / 80s Samla / Zamla works, so this one becomes superfluous. 

Former ownership: 1999 Amigo (CD). Acquired in 1999. Downsized in 2024.

1999; 5/1/24 (review)

Klossa Knapitatet (1974)

I go back and forth on this title. Some of the instrumental work is divine, but there's plenty of room for circus and silliness too. Those styles don't age as well for me. What was I saying about some albums don't inspire me to write much? 

Ownership: 1974 Silence (LP). No insert. Acquired in 1999.

1999; 2/1/22; 1/17/23 (review)

Måltid (1973) 

Samla Mammas Manna are a difficult band to pigeonhole, somewhat like contemporaries Arbete och Fritid and Archimedes Badkar in that way. They mix rock, folk, humor, jazz, and other unidentifiables into a very satisfying stew of progressive rock goodness. At times they seem ready to rip off a cool jam, but always pull back, never really wanting to associate with traditional rock tropes. It's not surprising to know they were a charter member of Henry Cow's Rock in Opposition troupe. They answer to nobody, and sound like no one. With any kind of music like this, there are some off bits to endure (including some cartoonish vocals), but mostly this one stayed in the rails. Which can't necessarily be said for all of their albums (though most are satisfying). In later years, the avant prog tagged would be appended to bands such as these, but I hear Samla far more organic than the usual cold and sterile albums that proliferate that scene. Great album artwork as well.

The CD offers bonus tracks, but it's weird how the label (or the band) did them. The first one 'Minareten II' is a shorter version of a track on the album, and a bit rawer. It's quite good. The last track 'Probably the Probably' is definitely bonus fodder, and not something to make you want to keep it. The middle of these three is the opening track on their debut album, which makes no sense.

Ownership: 1973 Silence (LP). Acquired in 2000.

2000; 1/8/22 (review)

Von Zamla - No Make Up! (1983)

Second album from international version of the zany S/Zamla Mammas Manna bunch with ties to Albert Marcoeur’s group. Featuring an expanded lineup of six, including Univers Zero reeds man Michel Berckmans, No Make Up! is undeniably an avant progressive tour de force. The album opens, interestingly enough, with ‘Forge Etude’, a rework from Zamla’s (then) final album Familjesprickor. A rarely mentioned fact, possibly due its obscurity, is the relationship of Von Zamla with the German fusion band Munju during this period. Both recorded for the German based JA&RO label (aka Exil). And not only do they share a full time member, bassist Wolfgang Saloman, but Berckmans also played extensively on Munju’s Le Perfectionniste album. This collaboration is reflected on the third track ‘Für Munju / Indojazz’, one of the livelier pieces on No Make Up!. Throughout the album, it’s once again Lars Hollmer’s familiar accordion, that drives most of the Nordic European style folk melodies. The ensemble work is tight, in typical chamber music fashion, with the aggressive rock edge provided by guitarist Eino Haapala, the same role he played for the Zamla clan prior. It’s fair to say that most of the groups in the Rock in Opposition camp find it hard to avoid some crazy improvisation, sort of their bitchslap to the establishment. Here Von Zamla only utilize one piece for that, the unbelievably irritating (and mercifully short) ‘Voice Improvisation’. Fortunately the remainder of the tracks remain composed, energetic and satisfying. No Make Up! was slotted to be reissued on CD in 1998, but for reasons unknown, did not happen.  Highly recommended to fans of the original RIO movement, the collective avant progressive sound, and those who have recently arrived through the Nordic front door via the Northside label.

Former ownership: 1983 JA&RO (LP). Acquired in 2008. Downsized in 2020.

Still no CD as I update this (5/28/26).

2008; 1/9/20 (review)

Other albums I own: Familjesprickor; Von Zamla 1983

1/9/20 (new entry) 

The Sterling Cooke Force ~ USA ~ Pennsylvania

Full Force (1984)

Here's an album that I first discovered via their earlier 45, which I reported on at the beginning of this month. To quote: "From northeastern Pennsylvania. File Sterling Koch (real name) next to Uli Jon Roth as guys who had no intention of letting Hendrix's legacy become forgotten. A) side sounds like the first Electric Sun album, which gets you a gold star in my book*... ...This would be the debut recording for Koch, and it looks like he went on to form The Sterling Cooke Force and released two albums and one more single." 

That debut album finally arrived after the seller left it in his living room for a full week. No big deal, sounds like it was an honest mistake. 

The sound that Cooke put forth on that single is here as well. Full Force is a direct collision of The Michael Schenker Group, Electric Sun, Roth era Scorpions, and a more metalish Robin Trower. The ghost of Hendrix looms large here. Sure, he recycled half the riffs, but when they sound this great who cares? It's a mix and match of all your favorite hard rock psych guitarists all in one place. It's a possible route Hendrix himself could have taken, dragging the late 60s into the 80s. I doubt he would have (see my Junior Hanson review), but it's fun to fantasize. Personally I think the album is fantastic. 

* - that track is on this album as well, but I'm sure it's been rearranged.

Ownership: 1984 Ebony (LP)

This is my first album to own on the infamous Ebony, most known for signing up downstream and mediocre NWOBHM bands. Now that's their reputation, but I'd like to find out for myself some day.

I also obtained their second LP Force This. It's essentially hair metal and falls outside of my interest area.

4/20/24 (review)

The RH Factor ~ USA ~ Los Angeles, California

Cries of the Night (1988)

I've been sitting on this since last June (so says the price sticker anyway). Picked up locally for four bucks at the now defunct Independent Records. One of my best scores there (look it up on Discogs). There are a few RH Factors, this one stands for guitarist Robert Howell. Apparently a disciple of a one Frank Marino, though that connection is only apparent on 'Rock Me Baby', which is exactly the kind of cover tune Marino would do. The music could best be described as AOR metal, but I think I'll categorize it as hard rock all the same. The songwriting is really strong for this kind of thing, and the album remains engaging. Excellent guitar work as to be expected. Only B2 stuck out as something regrettable. There's even light proggy touches to be found here. Given its scarcity, I'm going to hang onto this one. Worth seeking out if you're curious (check out YouTube).

Ownership: 1988 Tem (LP). The colors are little more softer / realistic than this photoshop scan. 

No reissues as of 3/31/25.

4/19/24 (review / new entry)

Tiger B. Smith ~ Germany

Tiger Rock (1972)

And now you know the group and album. I met Holger Schmidt's son. Take away the afro and scraggly beard, and his son looks just like him. Holger passed away in 2016 and we talked about that some as well.

As for the music, it's one of those I discovered later in life after being disappointed with the lightweight We're the Tiger Bunch, which was a pretty easy score in the late 1980s (due to being released on Janus in America). As with Lily, Tiger B. Smith only looked like a glam band, but the music on Tiger Rock is no such thing. It's pure gritty hard rock, done Krautrock style. 'To Hell' is the highlight of the five tracks presented and features molten hot guitar and precision rhythms. 'Tiger Blues' closes in namesake fashion but still rocks the house. Overall a super hard rocker in the Silberbart, Hairy Chapter, Night Sun tradition.

Ownership: 2008 CMV (LP). With poster and postcard. There's a mistake on the label, as Side A should be listed as (this side) rather than (over).

This is copy #25 (I'm sure Holger Schmidt received all the early ones). To be honest, I thought he might even be sending me the original Vertigo (maybe they had multiples of them?). We didn't discuss it and it really doesn't matter to me. Whichever copy he sends will remain the treasure of the collection. And so it is this version that will remain with me to the end.

4/14/24 (review / new entry)

I have a story to tell

I've been sitting on this story for a little over a year. Now is the right time to tell it. It's one of those incredible coincidences and encounters that we sometimes get in life. It's too good not to share with you all, as it's very relevant to this blog.

So... every year I attend our internal sales kickoff conference in Las Vegas (late Feb / early Mar timeframe). I'm not in sales per se, but I support them in my current role. The software company I work for is large, has very deep pockets, and really goes all out for this event. The last night of the conference involves a major shindig of some sort. Last year they rented out half a block of restaurants and venues including the Brooklyn Bowl, which was the original destination and we would spread out from there.

To get there from our resort hotel, they provide dozens of shuttle buses (there's close to 5,000 people at this event). Typically you would "meet up" with peers and friends and then ride over together. Being the random type of guy that I am, I just wandered over by myself and let's see what happens. I sat down next to a young man (heck - grandpa here is older than most of my peers these days), and started chatting. Turns out he's from Germany and is one of our sales reps there. As with anyone you have a common bond with, the conversation turns more lively as you learn about each other. Naturally we start with our jobs and the company we're with, and then it moves in various directions (family, food, drink, travel, culture, etc...). Our conversation carried pass the bus, the walk to the venue, and then inside the bowling alley. It's one of those finger food events, and we grab a space at the bar, get into some craft beers and food, and continue talking incessantly. Music had wandered in and out of the conversation, but I never expect anyone to know about what I write about here so I rarely broach the topic.

Eventually we start deep diving into music. He knows a lot. So I asked him if he knew what Krautrock was. I mean he's much younger (early to mid 30s) so this would be interesting to see. "Oh yes!" he proclaims. 

"My dad was in a Krautrock band". "Really? Did they record anything?"

"Definitely - they had two albums." "Whaaaat? This is crazy. What was their name?" "xxxx" (to be continued).

Then he offers: "I have many copies of the first album - I'll send one to you." And he did just that. I didn't even own a copy prior, making it that much more special.

After that I ended up bowling with him and the German team. Haha. All this happened because I didn't hang out in my comfort zone.

Tomorrow afternoon or Monday morning I will reveal that group and album.

To close the story, before this year's conference, I began to compose an email so that we could reconnect again. 

He is no longer with the company 😞 He's not even on LinkedIn, the only social media where my real name and photo exist. Overall, a most bizarre and fortuitous encounter.

Dewey Terry ~ USA ~ Los Angeles, California

Chief (1972)

From the two dollar table and this might prove to be my unexpected favorite new discovery of the last record show (still plenty to go). Chief is a very eclectic album and much of it is not of interest to me. It's a mix of soul, jazz, blues, rock, and funk. Dewey Terry is from Los Angeles but this LP was released on the short-lived Tumbleweed label up the street in Denver, which is probably why I found it. Starts off in soul territory before moving into a rocker that reminded me of Jim Croce of all people. Things get much more interesting on 'Funky Old Town', before the album offers the two tracks that insist you pay attention (totalling close to nine minutes). 'Suit for the Cat' (not credited on the back cover) is an excellent instrumental jazz rock piece featuring Terry on electric harpsichord. This is followed by the album's best cut 'Do On My Feet (What I Did In The Street)'. Featuring a killer funk groove with great guitar and Hammond organ, this track will get you on your feet alright. It's what the hipsters would call a banger. Side 2 picks up the same tune and leads into a commercial about a chicken farm - in Nashville, Tennessee! Que?  B2 and B4 are sleepy blues tracks. 'Sweet as Spring' is a very nice soft rocker with a sweet melody. And finally the album closer has a great rural rock mid section and solos that remind me of Culpeper's Orchard. So, as you can see, the album is all over the place and very inconsistent. But there's a lot of great here to be found. Combine that with being somewhat local to me - I'm keeping it.

Ownership: 1972 Tumbleweed (LP). Promo. This is some cover, I'll tell you that. It's meant to emulate a classroom notebook. Inside is notebook paper filled with recording details written in pencil. You need to be a member of Mensa to figure out where the LP is supposed to be stored. Surprising a record like this isn't worth hundreds of dollars. Guessing there's always been plenty of supply.

4/11/24 (review / new entry)

Satin Whale ~ Germany

Don't Stop the Show (1981)

Closing out the 5xCD set. Their last album was the plodding A Whale of a Time, which arrived with a thud. Once Don't Stop the Show started, I knew it was going to be better than its predecessor. Welcome to the 80s, Satin Whale! Here they provide a more energetic and punchy sound - not too far from a Saga or any number of thoughtful well known 80s AOR bands. Unfortunately this only lasted through the second song. A3 to A5 are turkeys, sloppy tries for stardom. Guess Satin Whale used all of their melodic songwriting skills on their first two prog albums. B1 shows promise that maybe they'll finish out on a high note. B2 wears out its whalecome (OK, I'll stop) after the first couple of minutes. And then down the tubes they go again. Still a much better try than A Whale of a Time, and I found it good overall, but nothing more. Well... poo. This set ends up being a disappointment for me on a number of levels. Just having Desert Places on CD is enough excuse to keep, and I certainly don't mind having Lost Mankind as a supplement. As a Keepsake has some very fine moments, but the last two I don't even consider part of the collection even if I own them via this package.

Ownership: 2023 Made in Germany (5xCD). Details on the Desert Places review below.

4/8/24 (review)

A Whale of a Time (1978)

Ugh. My dream that Satin Whale had great potential to put out a proggy AOR masterpiece certainly did not come to fruition on their 4th album A Whale of a Time. The fact is I did not have a whale of a time listening to this. While As a Keepsake had plenty to praise, there's nothing here I liked other than maybe the instrumental opener with its disco like strings, minus the beats. I think I would have liked the album more were it disco instead. A very disappointing try for FM radio exposure. I still have high hopes for their final album (in this series) that came around three years later.

Ownership: 2023 Made in Germany (5xCD). Details on the Desert Places review below.

4/2/24 (review)

As a Keepsake (1977)

Now that I've relistened to the first two Satin Whale albums on CD, I was curious how the next three would go since I've never heard them prior. I was told they were more commercial and not so interesting, which is why I never bothered prior. As noted many times, my interest in proggy AOR has gone up considerably so I figure I might be a good candidate to really enjoy this album. Especially when you consider that Satin Whale displayed a strong knack for melody even on their two acclaimed prog albums. So was I pleased? Yes and no. There are some great moments here, especially on the instrumental 'Maree' which would have fit perfectly on Lost Mankind. Flute remains a key part of their sound palette, and adds more contrast to their overall sound. The opening couple of songs are off putting at first, as the sound is too foreign for Satin Whale. Like they're trying too hard to be commercial when they don't need to. I listened to the album three times straight and the familiarity helped me appreciate more what they were trying to accomplish. There's plenty of progressive rock sequences mixed in with what appears to be straightforward compositions. At least on As a Keepsake, Satin Whale didn't convince me they were a top tier AOR candidate, but I wasn't disappointed either. 

Ownership: 2023 Made in Germany (5xCD). Details on the Desert Places review below.

3/28/24 (review)

Desert Places (1974)

Though I've owned Desert Places for 35 years, have rated it 5 stars, and the album was a charter member of the CDRWL, I never penned any notes about it. Desert Places is one of those rare albums that ticks all the prog rock boxes, and yet doesn't really sound like anyone else. The melodic quotient is higher than most, and their compositional approach is different, but not radical. The key ingredient here is that Satin Whale has an uncanny ability to groove, most evident on songs such as 'Seasons of Life' and 'Remember'. This is head bobbin' music. The band manages to go from one idea to another seamlessly, while never losing sight of the song or the rhythm. It's an agreeable sound, the type that makes it an ideal place to teach others about the beauty of progressive rock. In this way, they remind me of early Caravan, though this isn't Canterbury styled music. Other guideposts from Germany would be Eiliff and Twenty Sixty Six and Then. Not a minute wasted here. A gem of an album.

Ownership: 1974 Brain (LP). Green label original; 2023 Made in Germany (5xCD) 

Regarding the CD set titled The Studio Albums 1974-1981. Contains their first five albums in full with liner notes in German. Pity about this latter fact, as I'm sure many around the world would like to know their history. 

5/22/89 (acquired); 1995; 3/11/24 (review)

Lost Mankind (1975)

Lost Mankind is Satin Whale's sophomore effort, but it's quite a bit different from its predecessor, the brilliant Desert Places. The album is more in line with what other groups in Germany were doing during this time. Bands such as Missus Beastly, Altona, Birth Control, Ramses, and Sahara. There's more of a woodwinds presence, and the lengthy guitar and organ solos are mostly absent (but not entirely). Still the organ presence is strong, and there's plenty of wonderful flute. Despite lineup changes, no one can still sing, a common problem with German bands in those days. Fortunately Satin Whale isn't afraid to break into instrumental bits, and they have more edge than their contemporaries. Lengthy closer 'Beyond the Horizon' is the closest they get to Desert Places. All in all, an excellent album, though still a distant second to their debut.

Ownership: 1975 Nova (LP); 2023 Made in Germany (CD). Details on the Desert Places entry above

2000 (acquired); 4/19/10; 1/1/22 (review); 3/21/24

1/1/22 (new entry)

Hokr ~ Czech Republic

Starej Hokr Vol. 2. (2023)

Every few years we hear from the Czech Republic's finest prog band Hokr, and here we have a very interesting mix of archival and new material. I'll discuss that further below, but let's tackle the music first. Which I did over five listens on subsequent nights. Hokr has never been an easy listen, and this album is no different. 

For their last album I wrote: "...is a dense Van der Graaf Generator styled prog with the addition of sax and anguished vocals (in their native Czech). ...There are 8 tracks totaling 48 minutes, and everyone of them is challenging and complex. Yet easy on the ears with a certain melodicism. This is not the cold and calculating avant prog classroom exercise. No, this points to the early 70s masters of the style. I listened three times straight last night, and each listen revealed many new twists. Hokr are a full sounding five piece group, whose music will easily transcend time."

I think that covers this as well. That thick organ, tenor sax, complex charting, and impassioned vocals immediately recall the best of VDGG. Just the sound alone is very enticing. It's a varied album, which makes sense when you know how it was compiled, but it still comes across as a cohesive whole. Despite terms like "difficult" and "complex", the album actually flows nicely and is pleasurable throughout. That's a testament to the group's experience.

So what is this album anyway? The title means Old Hokr Vol. 2. Petr Cermak (friend and drummer of the band) tells me this was music they used to play from 1979 to 1985 (newly recorded though). OK, tell me more. Thank goodness for Achim, my long time friend and colleague from Germany, as he saved me time here. He dived deeper and offers this (translated by Google): 

"An email exchange with Petr and Pavel Cermak helped a lot to clear things up, and also helped clarify the band name. 'Hokr' was the band's neighbor's last name, i.e. the neighbor of the Cermak family, in whose house the group had started rehearsing in the fall of 1979. Since he was a bit strange (the neighbor), says Petr Cermak, and the band's music too, they named themselves after him. Back to "Starej Hokr Vol. 2". Starje is called old, so the album is roughly called 'The Old Hokr Part 2'. Here you can find music that Hokr composed, rehearsed and performed at secret concerts back then, especially in the first half of the 80s (they did not have an official performance permit from the Czechoslovak authorities). "Starej Hokr" is the sister album to "Hokrova Vila", which also contains such historical material from the band, but newly recorded in 2003-2004. “Starej Hokr” took a little longer, as the pieces were recorded between 2005 and 2023. This was probably also because Petr Cermak lived in the USA in 1986, while Pavel was active in the Czech Republic with Hokr, with a new drummer. Of course, original drummer Petr Cermak wanted to work on the skins for “Hokrova Vila” and “Starej Hokr”. ...Petr Cermak names Blue Effect (Modrý Efekt), Collegium Musicum, The Plastic People of the Universe, DG 307, Mikoláš Chadimas Extempore (later known as MCH Band), Vladimír Mišíks Etc…, SBB, Budka Suflera, Ossian and Omega as influencers at the time . The group's favorite band was probably King Crimson. From these sources of inspiration and a lot of their own, Hokr then formed their very own style, keyboard-heavy, a bit jazzy, slightly chamber rock and always nice and creaky, with very unique singing in the local language. Aku-Aku's colleagues, Dunaj, Domácí Kapela and Narajama later made similar music."

Thank you, Achim. Had no idea it was their neighbor's last name! And I also need to follow up on some of those reference groups. I know many and have written about them here, but there are some new names to me too.

Ownership: 2023 private (CD). Thick digipak with stapled booklet. 

4/7/24 (review)

Klid v Bezčasí (2017)

One of the better progressive rock discoveries of the last decade was Hokr, a band from Prague who released two albums of great invention. I have notes on each somewhere in this blog, for reference. So when I received notice that a 3rd album had just come out, I was ready to pull the trigger immediately. Ummm... one small problem. No one had it for sale. I mean no one. I put on the Discogs want list immediately, along with an ebay search. And waited. And waited. And waited. And finally that day arrived. Hokr managed to be for sale, even here in the United States. Hooray.

Now that I have secured the CD, which Hokr can I expect? The reality is that their two albums are very different from each other, but both great. The 2004 debut is a keyboard based progressive similar to Collegium Musicum but updated Elephant9 style. The other (Zahřáté Brzdy Optimismu from 2012) is a dense Van der Graaf Generator styled prog with the addition of sax and anguished vocals (in their native Czech). And the answer is? Klid v Bezčasí is very much like the latter. There are eight tracks totaling 48 minutes, and everyone of them is challenging and complex. Yet easy on the ears with a certain melodicism. This is not the cold and calculating avant prog classroom exercise. No, this points to the early 70s masters of the style. I listened three times straight last night, and each listen revealed many new twists. Hokr are a full sounding five piece group, whose music will easily transcend time. They are 3 for 3 in my book. Well worth seeking out.

Ownership: 2017 private (CD). Tri-fold thick digi-pak, with a booklet attached containing lyrics and original photography. 

5/7/21 (review)

Zahřáté Brzdy Optimismu (2012)

It's been eight years since Hokr's last album, and in between they released an album under the name Poco Loco. Zahřáté Brzdy Optimismu is closer in sound to Poco Loco than the last Hokr. The vocals have an anguished guttural quality similar to Peter Hammill (except sung in Czech), and the dense complex compositions recall the early 70s albums by Van der Graaf Generator. Sax, fuzz bass, and amplified organ lead the instrumental side of the band. This a fairly unique album overall. Perhaps only Garden Wall of Italy has a similar compositional style. Remove the metal guitars and add sax, and you have about the closest cousin you can spot. And they are distant cousins. Very distant. Highly recommended for the adventurous progressive rock listener.

Ownership: 2012 Ears & Wind (CD)

5/18/13 (review)

Hokrova Vila (2004)

At its core, Hokr are an organ based trio (whose history goes back as far as 1981) that seems to be the spiritual successor to Collegium Musicum, but put through the Elephant9 hyper amplified grinder. Additional guests on cello, tenor sax, and guitar augment their sound greatly. Though primarily an instrumental album, the Czech vocals are delivered in an impassioned narrative like a cross between Pholas Dactylus, Devil Doll, and Deus Ex Machina (at the higher registers). The cello gives them a slight Anekdoten feel. This is the best album from the Czech Republic since the heyday of The MCH Band, who they share some similarities with especially on the tracks with sax (minus the guitar of MCH of course). 'Mouse in a Trance' is a certified monster quality track! Hokr evolved into the also creative Poco Loco, a group I need to spend more time with obviously. Don't miss this one!

Ownership: 2011 private (CD)

4/28/11 (review)

4/28/11 (new entry) 

Malady ~ Finland

Ainavihantaa (2021)

Ainavihantaa is Malady's 3rd album and is a continuation of their foray into the waters of retro progressive rock. You can read my thoughts below on their first two efforts.

Remember what I said on the latest Agusa album about putting on a pair of your favorite jeans? That's Malady. Whereas Agusa takes me to new heights, Malady feels comfortable. Like watching an old episode of Rockford Files rather than something more challenging, even if it's based in old school principles (Bosch, for example). The question then becomes how many pair of comfy jeans do I need to own? That's going to be a debate coming in the not so distant future. We'll have to review this one with a more critical ear. For now... I'm good.

Ownership: 2021 Svart (LP). Gatefold. Acquired in 2024.

4/4/24 (review)

Toinen Toista (2018)

Toinen Toista is the sophomore album from Malady, and is largely an extension of the debut. As I stated on the notes for that debut, Malady is a band that have truly captured the sound and essence of the early 1970s. And they are defiantly Finnish at that, so the country's own progressive rock heritage is brought to the fore. Like their ancestors, Malady are not in a hurry to prove a point, but rather they invite you into their world, with strange shapes, dynamics, and colors.

The opening title track tells the whole story of the album in musical terms, so if that's not going to draw you in, might as well skip this title and head to the next one in your stack. 'Laulu Sisaruksille' is the now-requisite short introspective number with shards of mellotron and classical stringed instruments. 'Tiedon Kehtolaulu' is the highlight for me, providing a potential soundtrack to your dream vacation touring the countryside of Finland. It also underscores how much Malady should add flute as a permanent instrument. While listening to this track, you will see images of a pretty girl with long auburn hair and slanted eyes. I actually saw her come out of my CD player. Neat huh? 

'Etsijän Elinehto' is a very good track, but ultimately faceless in comparison. The 23 minute 'Nurja Puoli' takes us to the next level, with some stunning guitar melodies weaved into the multi-part harmonic track segments. Oddly I was reminded of Trettioariga Kriget's 'Krigssang' side-longer. 

Ownership: 2018 Svart (CD). Booklet with lyrics, photos, and recording details. Acquired in 2019.

2/7/19 (review); 11/13/25    

Malady (2015)

One of the common complaints I often hear regarding the "retro prog" movement is that the various bands that attempt it either 1) use new instrumentation to emulate old sounds or 2) use newer production techniques, even if the instrumentation is authentic. I have no such qualms, but for those where 1) and 2) are a problem, then Malady is the remedy for your... (cough) malady. Hammond organ, flute, loud acid guitar, woody bass, vocals in Finnish... you know the drill by now. This is an album that sounds like it was recorded and released in 1973. If groups with names like Tasavallan Presidentti, Kalevala, Nimbus, and Fantasia get your heart started, well then, do I have an album for you.

---12/28/25

On their latest release I posit the following: "The question then becomes how many pair of comfy jeans do I need to own?" In hearing all three Malady albums within a relatively short time frame (for me anyway), I'm leaning in the direction of this debut as the must own, and the others may be expendable. Not in a hurry to get rid of them, and I may yet change my mind. But I think they nailed the formula perfectly here. They didn't elevate like Agusa or Wobbler, however. Too content I would submit.

Ownership: 2015 Svart (CD). Papersleeve gatefold. Acquired in 2016.

1/8/16 (review); 12/28/25

1/8/16 (new entry)

The Mars Volta ~ USA ~ El Paso, Texas ~ Los Angeles, California

Amputechture (2006)

The headline: Artificial Intelligence Creates First Prog Rock Record

In a related story, when I was in high school in the early 80s I had a good music friend who came up with the concept of "random notes and metrics" using a pair of dice against a matrix of notes and scales. He's involved in a few albums, so he'll remain nameless to protect the guilty. I don't know if he invented that concept, but one wonders if The Mars Volta didn't come up with a similar philosophy using an online random number generator.

For Frances the Mute I joked "Until now I didn't realize one could get four hours of music onto a single disc." And further offered "It's like Led Zeppelin playing the music of Thinking Plague."

Amputechture follows Frances the Mute and largely maintains the patterns above. I'm not really quite sure what to do with these albums. I find them fascinating but not necessarily enjoyable. I can't even imagine playing these songs live - they're not even really songs. It would seem they would need music stands and written charts. It's almost the logical extreme of prog rock. The band must've asked themselves "What if we take Tales from Topographic Oceans... to the next level?" The whole thing seems random and made up as it goes. Which in of itself is not a bad concept, and these guys do on rare occasion catch a groove. Once again, I feel like they're talented hard rockers gone completely off the rails. They're creating an endgame for something that doesn't need it. This is like a $5 CD, so if you're looking for value per notes created, tough to beat mathematically speaking.

Maybe one day these albums will make some kind of sense. Perhaps listening to only one song over and over would help. And then put the CD away for another day. Sounds like a reasonable retirement activity.

Former ownership: 2006 Universal / Gold Standard Laboratories (CD). With lyrical booklet and bizarre WPA era artwork. Acquired in 2006.

2006; 4/4/24 (review)

Frances the Mute (2005)

Until now I didn't realize one could get four hours of music onto a single disc. Or at least it seems like it. I purchased this when it first came out, and haven't heard it since (sound familiar?). All I remember about it was the music was complex and they created a hell of a lot of racket. After just absorbing it again, what I remember shortly thereafter is... it's complex and they create a hell of a lot of racket.

It's not that they aren't qualified musicians - far from it really - it's that the composition style is chaos versus order. And melodies are optional. It's like Led Zeppelin playing the music of Thinking Plague. To be honest, it's the former that I enjoy most about The Mars Volta. They are an excellent hard rock band. Prog? Not so much. The music doesn't ever breathe, constantly being suffocated under a pillow screaming for air. One has to admire the sheer audacity of attempting music such as this, especially for a band that was in the midst of commercial success. It's not like I have a collection full of bands that sound like The Mars Volta. I also have their debut and 3rd album, of which the latter will be reevaluated soon enough. For now, I think Frances the Mute qualifies as "unique", and thus stays with the collection.

Ownership: 2005 Universal / Gold Standard Laboratories (CD). Acquired in 2005.

5//05; 10/16/20 (review)

Other albums I own: De-Loused in the Comatorium; The Bedlam in Goliath

10/16/20 (new entry)

Kebnekajse ~ Sweden

Resa Mot Okänt Mål (1971)

This is an album I long struggled with, having first heard it in the late 80s. Eventually I picked up the CD in 2011, and within the last couple of weeks I squeezed a +1 out of it. I think the primary issue here is the opening side. It's unlike anything else the group released, and it mars an otherwise excellent work. The album opener has an American west coast hard rocking psych vibe to it. Though strangely modern neo psychsters Dungen can portray this sound on occasion to better results. A2 is an instrumental, not bad at all, but is a bit static overall. A3 is a silly hoedown number that leads to the title track. And it's here that Kebnekaise finds its sea legs. Though the silliness factor is still in effect with the chipmunk voices. Oddly, Mikael Ramel used the same technique on his Till Dej album only one year later. Must've been a Swedish thing (and Ramel and guitarist Kenny Hakansson played together prior). No matter, as the music behind it is splendid with superb guitar. Side 2 is all aces. Mostly a hard blues rock outing, that recall fellow countrymen November at the beginning of their career. The lengthy B1 is the highlight of the album for me. After this debut, the band would embrace more their "Swedishness". To great success I might add.

Ownership: 1971 Silence (LP). Acquired in 2024.

First copy: 2001 Silence (CD). Acquired in 2011.

3/27/11; 11/18/17; 3/24/24 (review)

Elefanten (1977)

Elefanten is Kebnekajse's 5th album and represents a wonderful return to form, after the somewhat middling African/world music affair Ljus fran Afrika. Elefanten is about as close to jazz rock as Kebnekajse would ever get. It's a particularly strong outing for guitarist Kenny Håkansson, who lights it up everywhere he can. Also worth noting the strong violin play from Mats Glenngård adding the folk touch one would expect to hear on an earlier Kebnekajse album. This is a very fine work, that for whatever reason isn't as highly revered as I would expect. I think it's their best album along with their self-titled second.

Ownership: 1977 Silence (LP). Acquired in 1994.

1994; 12/4/10 (review); 9/18/18

Ljus Från Afrika (1976)

Light from Africa sees Kebnekaise moving from the comforts of home and trying their hand at a completely other style. This is a pioneering world music effort, pre-dating even Embryo's attempts. I'm not too keen on it myself, but one has to admire their spirit of exploration.

1976 Silence (LP)

12/4/10 (review)

Also own: Kebnekaise II; Kebnekajse (2009)

Previously owned: Kebnekaise III; Vi Drar Vidare

8/13/17 (new entry)

Earthstar ~ USA ~ New York

French Skyline (1979)

About 35 years ago I purchased this album new from a local store. I enjoyed it, filed, and pretty much that was the end of my Earthstar story until the CDRWL days. And it's only been in the last two years that I filled in the remaining three albums, which I've dutifully reported on here at UMR. So it's ironic that French Skyline is the last of those for me to discuss.

---2008

Earthstar is more or less the working band name for one Craig Wuest...  ...I still consider it one of the best electronic albums from the US (though recorded in Germany and France). Of course, having Klaus Schulze produce the album probably helped immensely. It's a powerful album in the Berlin School style.

---3/21/24

In hearing this album for the first time in 16 years, the Schulze effect is very prominent on the suite known as 'Latin Sirens Face the Wall'. It could very well be an archival release from the Timewind sessions. It's really the only piece in Wuest's oeuvre that isn't highly original. The title suite is more diverse recalling their debut Salterbarty Tales, and is what makes this album special like the others.

Ownership: 1979 Sky (LP); 2023 Made in Germany (5xCD). Details can be found on the Salterbarty entry. 

1990 (acquired); 2008; 3/21/24 (review)

Salterbarty Tales (1978)

---11/28/10

I didn't know what to expect on this rare debut by Earthstar. Would it be the Berlin School tour-de-force of French Skyline or more towards the classically oriented electronic sounds of Atomkraft? Nein, Danke!(?) The opening track had me drooling, with processed fuzz guitar mixed in with the electronics. A definite French vibe pervades similar to what Phillippe Besombes was doing with the Pole label. The next two tracks highlight piano and harpsichord respectively, and are definite proto new age songs. Following this, we are taken back to the otherworldly sounds of the first song, though this time there's oboe buried in the mix. Perhaps the best use of the instrument I've heard in an electronic setting. 

Side 2 opens with a lengthy near side-long composition that at times is sublime and combines the best elements of the 1st and 4th songs on Side 1, and also adds a bit of sequencing. The album closes on a quieter note, but still fits squarely in the cosmic music realm. I was more than pleasantly surprised by the quality of this album.

---6/10/23

I digested that one pretty well on initial impact. It possesses this murky and mysterious feel that only the French seemed to capture. It's all over the place like Humans Only, an album I've only discovered recently. It's not quite as focused though, and some of the new age bits drag on a bit. Long album clocking in at 57:35. In obtaining this LP, I thought it might result in being my favorite by Earthstar, but that title now goes to Humans Only, though this still finds itself in second place among a killer quartet of albums.

Ownership: 1978 Moontower (LP). Includes what looks like a lyric insert, though the album is entirely instrumental; 2023 Made in Germany (5xCD) Titled: Collected Works. Fat box jewel case. This package includes all four of their released studio albums plus one bonus album that was unreleased until now. Unfortunately they appear to be from vinyl rather than master tapes. The copy used for French Skyline wasn't the best either. Superior liner notes from band member Dennis Rea provide context to the history of Earthstar. I found myself relating to all of this as if I grew up with them in Utica, New York. I was in faraway Dallas, and arrived to the same musical conclusion a few years later, but much of their background was similar to my own (minus the psychedelics I hasten to add). 

11/28/10 (review); 6/10/23 (acquired / update); 3/11/24

Atomkraft? Nein, Danke! (1981)

I recently went on about Craig Wuest and his project Earthstar on the Humans Only album - one of the best personal discoveries of the last few years for me. He most certainly marched to his own drummer, though at times it's very apparent that Klaus Schulze was the field marshal. Earthstar recorded four albums, each very different from the other. Salterbarty Tales had an odd progressive rock meets New Age bent. French Skyline went all-in Berlin School, and Humans Only closed off the era with one of the most inventive electronic albums I've ever heard. But what of the 3rd, which is the subject of this post? This album also calls upon the Schulze influence, but in this case his more classically oriented works. Atomkraft? Nein, Danke! is a more somber and moody affair. More of a deep trance type listen with obvious chamber qualities such as piano and violin. This may not read very exciting, but in the hands of Wuest, the music comes to life in multiple ways. And as usual he brings along a lot of musicians to add variety and color. A true talent that is sadly forgotten today.

Ownership: 1981 Sky (LP); 2023 Made in Germany (5xCD) 

8/26/22 (acquired / review)

Humans Only (1982)

Utica, New York's finest electronic musician, Craig Wuest, had always marched to a different drummer. Earthstar's debut Salterbarty Tales has elements of the French progressive electronic masters. Somewhere along the line he befriended a one Klaus Schulze who produced his first album for the Sky label, French Skyline. Though despite the name and his debut's predilection, the album definitely fits well within the Berlin School. Their 3rd album is one I obviously need to revisit, and will refrain from comment until then.

Which gets us to Humans Only. With that title and a modern cover, I just presumed all these years this was a typical 80s throwaway electronic album, or perhaps an NDW influenced work. As I've been reliving the X Wave years, I threw this in with another purchase. No one talks it up and the grades are consistently in last place for the group. Pssst... I have a tip for you underground heads out there: This is their best album. Huh? At least as I hear it today. I think sometimes we have a pre-conceived notion that late era releases from the 80s are uniformly worse than their 70s predecessors. More often than not, that premise remains true. But sometimes...

...you get Humans Only. Earthstar here are a four piece with a cast of thousands helping out. Hard to say what Wuest was thinking when he composed this album, but he's reaching deep in the early to mid 70s here. Opener 'Rainbow Dome' and 3rd track 'Indian Dances' are upbeat, sunny, and positive pieces reflecting the mood of the era, similar to Ashra in that way. But the music recalls Mike Oldfield's Ommadawn more than anything. The second track 'Don't You Ever Wonder?' is stunning, with some beautiful song passages. And 'One Flew Over the Bridge' isn't that far behind. Side 1 is super. A feel-good underground proggy electronic album.

Then we get to side 2. Now it takes a turn for the weird. 'TV Funk' has funky rhythm guitar with Lisa Gerrard styled vocals channeling the music of SPK. What? Yea, read that one again. This leads to 'Tip Toe Funk' which doesn't have an ounce of funk. But what it does have is hardcore Krautrock, with minimalist electronics, dark atmospheres, percussion, eerie voices, and psychedelic guitar interludes. It's jaw dropping, more in the contrast of tone to the rest of the album, than evaluating it by itself. The album is backloaded with both mellotron and Birotron, the latter not something you will hear much.

You just never know where your next new brilliant album will come from. 

Ownership: 1982 Sky (LP); 2023 Made in Germany (5xCD)

2/24/22 (acquired / review); 5/1/24

2/24/22 (new entry)

Lucifer's Friend ~ Germany

Banquet (1974)

What a strange record, I'll tell you that right up front. Lucifer's Friend didn't fit neatly in a single box, having released a number of albums that spanned the musical spectrum (and yet never Krautrock strangely enough). But they usually were consistent within the album. That's not the case here. The opening track is misleading and inauspicious. Sounding like 1970 era Beatles, or maybe more to the point Wings, Lucifer's Friend offers an outdated jangly pop track. This is followed by the lengthy 'Spanish Galleon' which mixes in both jazz and brass rock to great success, while infusing a Vegas loungey vocal style. What a great mix, and we're still 4 to 5 years away from any kind of modern relevancy. 'Thus Spoke Oberon' is the highlight of the album, and takes the above track and runs it through progressive rock motifs. I had to hear this side three times straight to digest its contents. That's pretty rare nowadays. Side 2 opens with... a boogie rock track. Of course it does. It does improve as it goes which leads to the near 12 minute 'Sorrow' - yet another Tom Jones fronting Chicago meshed with Wolfgang Dauner number. 'Dirty Old Town' finishes in folk rock fashion, but does not eschew the above artistic or sound qualities. This one gets a +1 for unique and another +1 for being pleasurable to listen to.

Ownership: 1975 Passport / Billingsgate (LP). Acquired in 2024.

3/20/24 (review)

Where the Groupies Killed the Blues (1972)

Way late US issue of Lucifer's Friend's second album, Passport acquires Billingsgate and subsequently gives up on the German market. They also radically reworked the original order by placing the closing ballad as the opener, among other adjustments. That makes no sense. But whatever the case, Lucifer's Friend's sophomore effort is much different than the debut. Whereas that album is a great example of German hard rock, Where the Groupies Killed the Blues is also a very nice representation of German prog rock, with touches of the former. Neither are Krautrock in the slightest. From here they went on to classic rock, and (apparently) a bit of jazz rock, though I haven't heard Banquet yet (see above). Strange band. And not really a good representation of the German scene of the era, though it appears American audiences appreciated them more at the time than some of the others. 

Ownership: 1975 Passport (LP). Acquired in 2023.

7/23/23 (review)

Lucifer's Friend (1970)

If there's an album out there that clearly designates hard rock from Germany versus Krautrock, Lucifer's Friend's debut may be just that. For 1970, Lucifer's Friend paves the way for many German hard rock bands to come like Frame, Hairy Chapter, Night Sun, Gift, etc... Heavy organ and riffing guitar along with soulful, Uriah Heep-like vocals (from Englishman John Lawton) define the music. A truly groundbreaking effort that's a year ahead of the pack.

The cover is as creepy as they get, far outdoing those metal bands that try too hard for the same effect.

Ownership: 1970 Philips (LP). Embossed gatefold. Acquired in 2023.

6/4/23 (review)

I'm Just a Rock 'n' Roll Singer (1974)

This album has a major image problem. The cover, title, and band moniker are all wrong. And while it's true that the title song does have boogie rock components, it still features an excellent hard rock break. And it's not representative of the album on the whole. Only A2 is similar, and it too features a superb ending. The rest of the album is very good hard rock, and the last two tracks go completely prog, with mellotron and the works. This is only the second album I've heard by Lucifer's Friend, and it's far better than Good Time Warrior which I've already panned below. 

Former ownership: 1974 Billingsgate (LP). Acquired in 2022.

3/10/22 (review)

Good Time Warrior (1978)

I'm not really that familiar with Lucifer's Friend, though I know this is way past their prime. For all of side 1 and half of side 2, it's an embarrassing display of radio friendly boogie tunes. I mean, these Germans came from the same era as the Scorpions and had the right moniker to take it to the next heavy level. But they chose to sell out, and it didn't work for them at the time, and history will be even less kind. The final 10 minute cut 'Warriors' has some quality moments, leaving one wishing for more. A waste of yet another cool lady fishnet cover (remember Blister Chap?). 

Source: 1978 Elektra promo (LP)

12/2/21 (review)

6/5/23 (new entry)

Superior ~ Germany

Behind (1995)

Superior came around at a time when prog metal was gaining momentum. The genre wasn't flooded yet with copycats, and originality was still something to strive for. You basically had three schools of this blend going at the time: Fates Warning with its more gritty Iron Maiden styled approach; Dream Theater with its ultra technical yet slick displays of talent; and technical thrash as first introduced by Watchtower. It was this latter bunch that was all the rage in the late 80s and early 90s, which in retrospect is very surprising. But Dream Theater styled, not so much at the time. 

Behind is a solid mix of tunes, with fat riffs and - dare I say - a superior vocalist. Keyboards are usually the simple piano with occasional synth. Not much in the way of showoffy instrumental work, the album is more about atmosphere and heaviness. And it's very catchy too. As the album went on, I was reminded more of Savatage on Hall of the Mountain King. Savatage is a borderline prog group, more being the pioneers of US power metal. But that's your storyline behind Superior.

Had this album come out in the last 25 years, I'd probably be less impressed, but as one of the originators it brings back memories for me of an exciting time of music progression.

Ownership: 1995 private (CD). With lyrics and recording details. This was another surprise for me. When I started adding my collection to Discogs in 2016, this CD wasn't in there. In fact, it was listed as from 1996 and the primary was on T&T. I purchased this from Dream Disc real time in '95 (and the disc face shows a 95 date). I've been lazy in not adding photos of it. I didn't realize at the time that Superior had self-financed their way originally.

1995; 10/16/14; 3/19/24 (review / new entry)

St. Elmo's Fire ~ USA ~ Cleveland, Ohio ~ Iowa

Artifacts of Passion (2001)

Four months ago, for Groovector's Ultramarine, I wrote: ""I have quite a few albums in the collection that I'm most excited to hear - many of them I anticipate are better than I have them rated. This is yet another album I haven't heard since it first came out. So 22 years later we have our second visit." - Part 2. In fact I think this was in the exact same CD order with the Hamadryad album that makes up the above quote."

Make that Part 3. For whatever reason there's a part of my collection from 2001 I never revisited. Artifacts of Passion represents a reunion effort, as it were, with mostly reworked versions of older compositions going back to the late 70s and early 80s. A couple of these made the Live at Cleveland Agora EP, but even those tracks are much different here. Though a modern recording in 2001, one could almost view this as an archival release. The sounds are pure analog, and it's as if the prior 20 years didn't happen. Plenty of mellotron and violin to offset the usual rock based instrumentation. Their music is very much a product of the American Midwest and overtures to King Crimson, Genesis, and Yes are apparent. The album is mostly instrumental with the exception of 'The Nemo Syndrome'. Artifacts of Passion is one of those albums that slipped through the cracks of time, but is a fine representation of the type of American progressive rock that existed in the late 70s.

Ownership: 2001 Sprawling Productions (CD). Booklet with recording details and historical references. My copy came with two postcards, one signed by band leader Paul Kollar.

2001; 3/12/24 (review)

Live at the Cleveland Agora / Splitting Ions in the Ether (1980 / 1998)

Live at the Cleveland Agora is St. Elmo's debut album from this fine progressive rock band from the namesake city. It would be their only album during their original tenure. Released privately, it was a four song instrumental EP that demonstrated a band with immense talent, captured live. Because of this, the sound quality isn't the best, and you get the feeling the band still needed a bit more time to work out the compositions. Since it's instrumental - but not a jam record - then melody and structure will need to carry the load. There are times here when one expects a vocal passage, or perhaps another theme break. It doesn't help that the tracks are fairly longish. Musically it's influenced by the usual UK suspects, just as every other progressive rock band from the Midwest were. St. Elmo's Fire incorporated a bit more King Crimson than usual, and one can also trace a bit of late 70s Rush in the grooves. Overall, Live at the Cleveland Agora is a fine EP, and worth seeking out on its own.

The band were to reform some 18 years later in Iowa (at least administratively), and rather than reissue the EP alone, they added the full concert plus three more tracks taken from two other shows in 1980. They also rechristened the album Splitting Ions in the Ether and added new artwork. The nice tracks on display here are similar to the EP, but elongated even further since the two tracks left off were also the lengthiest. The odd thing about these two is they sound better than the four tracks from the EP, which have remained somewhat distorted even into the digital age. The other three songs are musically similar and 'Gone to Ground in the Khyber Pass' (left off from the EP) might be their best composition on here. Definitely the CD is the way to go if looking for ownership.

Ownership: 1980 Corposant (LP); 1998 Sprawling Productions (CD)

1992 (acquired); 1998; 2//09; 9/18/17 (review)

9/18/17 (new entry)

Bella Band ~ Italy

Bella Band (1978)

Bella Band's sole album is always better than I think it is. Part of that thought process is the album was originally on Cramps, so my mind immediately goes to avant prog, and conclude it's more arty than I tend to prefer. But that's not the case at all. Bella Band is an all instrumental high energy jazz rock with saxophone, Clavinet, Rhodes, fiery guitar, and a busy rhythm section. Melody is front and center at all times. I'm most reminded of early Passport, when they were at their peak of rock creativity (Second Passport in particular). Less slick than the 1978 date infers. 

Ownership: 1994 Mercury / Cramps (CD). 

The first copy I owned was the original LP (1992). It was an early casualty of my CD replacement program (1995). At this point, I'm fine either way, but if a clean and reasonably priced LP is floated my way, I'll swap back since the CD offers little else.

1992 (first acquired); 1995; 2009; 3/8/24 (review / new entry)

Catharsis ~ France

Catharsis Volume II "Les Chevrons" (1972)

Catharsis' second album is quite simply music for liquid light shows. Head music as they would call it back in the day. I found this to be an improvement from their debut Masq. The instrumental psychedelic rock music of Les Chevrons is more compact, and demonstrate more compositional quality than the strictly atmospheric Masq. The title track, with its haunting organ melody, is particularly memorable. This isn't meant to be challenging prog music. Kick back, digest your beverage of choice, and let the music take you to new places you haven't been. Or at least enjoy the slide projector.

Ownership: 

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

1990 Griffe (CD). Includes all of Masq and three different songs from various singles.

1994; 4/3/13; 3/3/24 (review)

Vol. 4: Illuminations (1972)

Even though this is Catharsis' 4th album, and many online discographies list the album from 1975 - in reality it was recorded at the same time as their first three albums (including an EP). Musically it ties closest to their debut Masq. Essentially it's atmospheric rock music with wordless female vocals and a psychedelic backdrop. Not the kind of album to knock your socks off (presuming you would want such an occurrence), but for a pleasant mid-evening listening session, it serves its purpose.

Ownership: 1975 Festival (LP). Gatefold. Acquired in 1996.

1996; 11/18/20 (review)

Catharsis Masq (1971)

Catharsis' debut is like an imaginary instrumental psychedelic soundtrack album, with wordless female vocals. 1969 Pink Floyd plays a huge role in their sound at this point in their career. It's mostly atmospheric, and doesn't offer much detail for the attentive listener. However, as background music while driving, it more than serves its purpose. 'Tunnel Extatique' is certainly the highlight of the four track set.

Ownership: 1990 Griffe (CD). Includes Les Chevrons. The title is a bit misleading because it indicates that you are also receiving the 3rd album - an EP called '32 Mars'. This is not the case. Rather you receive three singles, including the aforementioned 'Masq', in addition to the single edit version of 'Les Chevrons' and, of course, '32 Mars'.

First acquired the LP in 1993.

1993; 1998; 4/3/13; 9/1/19 (review)

Three of the early Catharsis albums were self-titled, so when Festival reissued their early albums in 1975, they appended titles to them. Those names stuck, as that's how most collectors refer to their albums by. Catharsis were a relatively popular band in their day with six albums and 13 singles, not counting the many collaborations they were involved in.

Other albums I own: Le Bolero du Veau des Dames; Et S'aimer Et Mourir

9/1/19 (new entry)

The Masters of Deceit ~ USA ~ Indiana

Hensley's Electric Jazz Band & Synthetic Symphonette (1969)

The Masters of Deceit's sole album is yet another wonder from the interior of America, in this case Indiana. When hearing Hensley's Electric Jazz Band & Synthetic Symphonette, the first thought that comes to mind is Soft Machine's debut, an album they must've digested before heading to the studio. As with the origins of Canterbury, The Masters of Deceit are heavily influenced by both jazz and psychedelic, but their music squarely belongs to the early days of progressive rock. Plenty of jazz psych jams and whimsical tunes  featuring clavinet, vintage organ, and electric guitar. The rhythms are distinctly from the jazz school. File alongside The United States of America, Listening, After All, Brimstone, The Spoils of War, and other pioneering American prog groups.

Ownership: 1969 Vanguard (LP). Uni-pak gatefold. 

2003 (acquired); 3/2/24 (review / new entry)

Libra ~ Italy

Musica e Parole (1975)

---Apr 2005

Late entry to the Italian prog game. Related to Goblin and inexplicably signed to Motown in the US. A mix of classic complex prog (Lanzetti era PFM, Come In Un'Ultima Cena era Banco, and Cherry Five come to mind), singer songwriter, mid 70’s raw fusion, and yes, even a bit of funky business with clavinet (which would be the tie-in with the Motown crowd). 14 minute final piece 'Inquinamento' ties it all together nicely for the album’s winning cut. Not an album to change anyone’s opinion about a particular music scene, but an easy purchase for those into said scene.

---3/1/24

In hearing the album for the first time since (and I didn't even realize I penned any notes prior), I found Libra's debut a very pleasing set of tunes (+1). Classic Italian prog with a fusion edge. It was released at a time when prog was waning in Italy, but still had enough of an audience to allow this kind of creativity to exist. Motown signed them to a 10 album contract, which doesn't make any sense at all (also - didn't they know Italian bands rarely last more than two albums?). Seems like the chemical enhancements were flowing down nicely. The funk touch on this debut is very light. 

Ownership: 2004 BMG Japan (CD). Gatefold papersleeve edition.

4//05 (acquired / review); 3/1/24 (update)

Winter Day's Nightmare (1976)

My stance has softened considerably on prog bands who were trying to stay relevant with more commercial material. And that's exactly what Winter Day's Nightmare is. However, in this case, the material is pretty weak. It's not very catchy. In fact, it's a bit irritating almost. Side 2 has some elements that raised the rating (nice guitar work for example), but not near enough to keep. How odd was it that this Italian prog band ended up on Motown anyway?

Source: 1976 Motown (LP)

3/21/23 (review)

3/2/24 (new entry)