The Doors ~ USA ~ Los Angeles, California

Absolutely Live (1970)

Worth keeping for this album's version of 'When the Music's Over' which sounds like a crazed Krautrock track with psychotic vocals from Morrison. Both Krieger and Manzarek go off the rails with their respective guitar and organ solos. Densmore is very active on the drum kit as well. Much more kinetic than the also great studio version. There's plenty of other moments like that interspersed throughout. They front load the blues tracks which is my least favorite aspect of The Doors, so they get most of that out of the way early.

Ownership: 1970 Elektra (2xLP). Gatefold. Acquired in 2024.

7/5/24 (review)
 

Other Voices (1971) 

I've been wanting hear these post-Morrison Doors albums for some time. A college chum played me Full Circle way back then, but I recall little about it. Based on what I'm reading, I can pass on a revisit. And that's primarily because Other Voices, which is supposed to be better, isn't really all that good either. The easy out here would be to just state it's The Doors without Jim Morrison, so how could it be good anyway? Well... plenty of bands have survived tragedy only to improve from there. I could very easily see this album being the next Doors release after LA Woman. It's not like Morrison would go "Gee guys, I'm not so keen on 'I'm Horny, I'm Stoned'". Now he'd for certain sing it better than Ray or Robby, but the song still stinks. I do like 'Ships w/ Sails' and 'Hang On To Your Life', but not enough to keep. Too bad, as this is a very fine glossy German gatefold. 

Source: 1973 Elektra Germany (LP)

1/2/22 (review)
 

The Doors (1967)

The older I get, the more I have become to realize that the "big name" bands of the late 1960s are really not to my taste. Bet you thought I'd say the opposite. It's something I hear quite often among my age group and older, just how much better the music was back then. Utter nonsense I say. You just have to dig harder for it - and that's been the case ever since I first started collecting in earnest in the early 1980s. But in the late 60s, FM radio was all one really needed.

With that out of the way, The Doors are proving to be the exception for me. I'm really starting to enjoy not only their hits - something I've always had appreciation for - but also their more obscure album cuts. I've recently picked up the entire Doors catalog (Morrison era) of remastered CDs, and will be revisiting all of them. Though I'm rather certain my favorite will remain this debut - an album that is groundbreaking as it is enjoyable. That's a rare combo actually. Sgt Peppers was groundbreaking, but I get bored with it. Zappa/Mothers of Invention's Freak Out is even more pioneering. I can barely listen to it. The Doors though. Yea, wow. After all these years, I still get goosebumps listening to the instrumental section of 'Light My Fire'. I don't know how that's even possible. Whatever - you know this album already. Just wanted to join the chorus for once and state I agree with its lofty reputation.

I really love the remastered CD version, but I imagine its quite controversial among the fans. Apparently the original version was released slower than intended. So it's been pushed up to its original intended speed. It's a bit disorienting, but sounds really great to my ears.

Ownership: 

2007 Elektra / Rhino (CD) 40th Anniversary edition. Booklet with recording details and the history of the band. And bonus tracks. Acquired in 2019.

Elektra (LP). Later commodity pressing. First acquired in 1982. This version acquired in 2024. 

Elektra (MC). Later commodity pressing. Acquired in 2025.

1982; 7/21/19 (review)

7/21/19 (new entry)

Saga ~ Canada ~ Toronto, Ontario

Silent Knight (1980)

Saga's third album demonstrates the gradual maturity of the band. The songwriting continues to improve and the playing is crisp and tight. The melodies tend to stick longer but they never let go of their progressive rock tendencies. 'Don't Be Late' was one of the group's signature tracks. This was to be Jim Gilmour's debut with Saga, and his keyboards were the final piece of the puzzle. Silent Knight didn't break Saga but their exposure continued to grow, playing live with other Canadian notables. Their next album World's Apart broke them out globally and they were to be one of the defining rock acts of the early 80s.

Ownership: 1980 Maze (LP). Lyric inner bag. 

1992 (first acquired); 6/28/24 (review)

Behaviour (1985)

By the time Behaviour was released I was an entrenched Saga fan. World's Apart and especially Heads or Tales were (and remain) very important albums in my collection. As mentioned many times here already, 1985 was a pivotal year for my musical development, and I consider it the time I began my deep dive into progressive rock. So when I saw the new Saga at the record store, I looked at it closely, and said no way. It just didn't feel right. 38 years later, I grabbed one for a buck at the Austin Record show to see if I had made a mistake all those years ago. Nope - it ended up sounding exactly what I thought it might sound like. My instincts proved correct. The production is completely overdone and Gilmour's keyboard tones are awful. And Negus sounds like he's drumming echoed pillows. Only Michael Sadler sounds the same, bringing his unique vocal style to what sounds like an Atari soundtrack. I found myself enjoying Side 2 more than the first - perhaps the shock factor had worn off by then. These guys could still write decent tunes even at this point, so it's a good album overall. Not enough to keep. And while I can be apologetic about it today, 38 years ago I would have abhorred it.

Source: 1985 Portrait (LP)

6/17/23 (review)

Saga (1978)

When I started crate digging again in earnest four years ago, I had my sights set on obtaining the first three Saga albums. Like just about everyone else, I discovered Saga on Worlds Apart. I tell that story on that entry, and I was a senior in high school when they broke big. That album along with the even better Heads or Tales sold gobs of copy, and are found in just about every record store. But the first three - similar to Styx in that way - sold enough to stay alive but weren't blockbusters. So they're far more elusive in the wilds (though not expensive if mail ordering).

Parallel to this is the music appreciation of these albums. I had been told - and I think many experienced this as well - that Saga started as a prog band. That they weren't near as commercial as they were to become. Well hot damn! I already really enjoyed Worlds Apart (more now than back then), so these must be magnificent. Ehh... no. Not no in that they aren't very good, but no in that they aren't any different. Which is the great storyline here. For 1978, Saga was predicting the future of music by at least four years. This isn't the Midwest pomp of Styx or Kansas, but rather the global AOR / MTV sound of 1982. Way ahead of their time, Saga were already using punchy guitar lines and synthesizers crammed into compact radio friendly tunes. And they were always good at adding a touch of sophistication to their compositions, going far beyond pandering to the masses. Which is their secret sauce and makes them so endearing all these years later. There's even a dash of Gentle Giant especially when you consider the counterpoint vocal lines. The verdict? This is exactly what I'd hoped to hear. When I first heard them in the late 80s I was mightily disappointed, mainly due to the poor expectation setting. Had I known that these early albums were very similar, I probably would have passed back then. But now I hear it as one more great album in their repertoire. 

Ownership: 1978 Polydor (LP). Lyric inner. 

3/25/23 (review)

Worlds Apart (1981)

Worlds Apart was my introduction to Saga, and I'd guess it was many American's first exposure to this fine band. I have so many fond memories of this album. I would go so far as to say that it defines the fall of 1982 for me, the first semester of my senior year in high school. Saga perfectly captured the era in which it lived. It's punchy and catchy, and the production and sound textures are early 80s all the way. Meanwhile they added just enough prog to keep it interesting for deep dive listeners like myself. I dubbed my LP copy onto cassette and used to play it in the car all the time - turned on many friends to Saga back in those days. I wonder if they remember that as well? Seriously doubt it. To reminisce on the car driving aspect, I listened to the CD around town while running errands. Good times. 

Ownership: 1981 Maze (LP); Portrait (CD)

9//82; 7/14/14; 2/12/22 (review)

House of Cards (2001)

Saga is one of those time-and-place bands for me. I'm not sure they would have registered at all had they not been part of a great time of my life. Worlds Apart is one of many albums that represents my senior year in high school. And Heads or Tales does the same for my freshmen year in college. Instincts told me to avoid Behaviour when it came around (1985), and it appears that was the right move (ed: confirmed in 2023). And that was it for me and Saga. A few years ago, I bought a CD collection that included Full Circle (1999). It was pretty good, but it didn't have the magic. It was still in the sell bin (gone now), and I thought to myself I should hear it one more time. Nope. It's just not there for me. For whatever reason I decided to pull for House of Cards anyway, since I saw it going for cheap. It's only two years later, how much better can it be? A lot. This is the Saga I know and love. They really recaptured the magic of 1981 to 1984. Maybe not every song is great as it was in the past, but mostly it has that staccato guitar, cheap synthesizer sound, and excellent melodies thing going on. And Michael Sadler sounds exactly the same. Made me feel 18 again. If you're like me and early 80s Saga is in your strike zone, and you forgot all about them since, this would be a good way to spend your loose change.

Ownership: 2001 Steamhammer (CD). Hardbound cover.

5/12/20 (review)

Other albums I own and need to review: Images at Twilight; Heads or Tales

5/12/20 (new entry)

Golden Dragon ~ USA ~ San Francisco, California

---9/5/16

I had wondered what had happened to any of the members from the San Francisco based Filipino community band Dakila. In my mind, they were close to the top of the stack when talking Latin rock as first proposed by Santana. So I was thrilled to see the connection here, on this fine effort by the very obscure Golden Dragon.

In 1981, you still had a few artists hanging onto the original Jimi Hendrix experience as it were. Most notably Frank Marino, but even Robin Trower with his Victims of the Fury, paid homage. Of course, by 1981, this type of music was just as informed by 70s hard rock as it was late 60s heavy psych. And this is where Golden Dragon finds their sound as well. Perhaps fellow San Francisco artist Leland provides another guidepost. There was much more of this type of music to be found in the clubs of the day, but very little recorded material. A nice little LP, that could certainly use a CD reissue. The album is only 26 minutes, so hopefully there's more in the can, as they say.

Ownership: 2021 Subliminal Sounds (LP). Liner notes and photos. 

No CD as of yet (3/31/25). Given that the LP reissue does not have bonus tracks, it would seem this is all there is. That's unfortunate.

9/5/16 (review); 6/16/24 (update / new entry)

Quad ~ England

2 (Q) (1997)

Quad 2 starts with an Indian stringed instrument that sets the tone (or drone) while tribal drums and acid guitar slowly float the listener away. Lots of mellotron and acoustic guitar. One of the most blissfully tranced out Krautrock albums since Dom's Edge of Time.

Ownership: 1998 Prescription (LP). Numbered (theoretically, mine has a red mark in its place) with an insert. 

2004 (review); 3/18/11 (acquired / update); 6/2/24 (update)

Quad (1997)

---June 2005

Psychedelic chill out music from Sun Dial offshoot. With the female narration, you could qualify this as a modern day Galactic Supermarket. An easy formula that is rarely duplicated in these times. Plenty of great acid guitar and echoed sitars.

---1/18/20

 

Quad was a side project of Gary Ramon, basically exploring his more Krautrock preferences. In a lot of ways, Quad was to Gary Ramon / Sun Dial what Incredible Expanding Mindfuck was to Steven Wilson / Porcupine Tree. Plenty of great acid guitar and echoed sitars to submerse oneself in. A formula that is hard to master to obtain the right atmosphere. 

Ownership: 2005 Acme / Lion (CD). Has a full history of Gary Ramon and Sun Dial. 

9/23/97 (first acquired); 6//05 (review); 1/18/20 (review)

Live ICA June 1997

Quad was a side project of Gary Ramon's Sundial. The premise here is that Quad would take the neo psychedelic roots of Sundial and apply it more to a Krautrock styled sound. Their two proper albums are indeed quite excellent and do a fine job at recreating the atmosphere of a group such as Yatha Sidhra.

As far as I knew, those two albums were all they released. And even the second one is very tough to score given its limited edition. A few years ago I learned of a 3rd album, released only on CD-R. One can see why this wasn't a proper album. To be generous, I could say this was Ramon's homage to the electronic pioneers, such as Tangerine Dream circa Zeit or early Cluster. But mostly it's pretty dull to be honest, and could have used some more judicious editing and a few more ideas. But for fans of analog electronics, static as it may be, it's certainly worth seeking out for a listen.

6/9/19 (review)

6/9/19 (new entry)

Etna ~ Italy

Etna (1975)

Etna is quite simply a powerful instrumental heavy fusion album with light progressive rock touches. Elements of Return to Forever, Mahavishnu Orchestra, and fellow countrymen Perigeo and Il Baricentro abound. The proggier elements cross over into Arti & Mestieri territory. In particular I'm quite fond of the inventive bass work and the busy drumming. Essential for the style I'd submit.

Ownership: 1994 Mellow (CD). Acquired in 1994.

1994; 2003; 6/5/24 (review / new entry)

Recreation ~ Belgium

For Music or Not Music (1972)

On Recreation's second album - For Music or Not Music - the music takes a decidedly creative turn while adding guitar to the mix. An all-over-the-map type release, totaling 15 tracks, that reminds me some of Aphrodite’s Child’s 666 album, minus the pop songs. The quirkiness and overall demeanor recall some of the earlier work by Supersister. Like the debut, this is entirely instrumental.

Ownership: 1972 Barclay (LP). Gatefold.

2006 (review); 1/27/10

Don't Open / Recreation (1970)

---2006

The debut by this Belgian trio is a kick – somewhere between the avant space psych of Group 1850, the rigid metronomics of Egg, and exploito organ-led covers of classic psych tracks. Great fuzz bass and go-go organ sounds throughout.

---6/8/22

And really not much to add here. Side 1 contains the originals and Side 2 are the covers. However it should be noted that even though these latter tunes are very well known (for example The Mamas and Papas' 'California Dreamin''), the arrangements as found on Recreation are barely recognizable, making it that much more interesting.

Originally released in their native Belgium on the Triangle label as Don't Open. I prefer the German cover, so I splurged for it. 

Ownership: 1970 Bellaphon (LP)

2006 (review); 6/8/22 (update)

6/5/24 (new entry)

Galahad ~ England

In a Moment of Complete Madness (1989 / 1993)

---11/18/17

Script for a Jester's Permanent Moving Signal Waves. Yep, that's about right.

---6/3/24

So let's dig a bit deeper here. Essentially this is two different releases. One is a reissue of their debut cassette known as In a Moment of Madness. The first five tracks here come from that tape. The music is spot on Grace Under Pressure era Rush. What it lacks is the spark and urgency that Rush brought to that recording. The music here is good, but nothing to grab one's attention. The last three songs were re-recorded for this CD and show a different side of the band. Clearly Marillion and their ilk have made an impression here. The last two songs are extended epics in the early Marillion / IQ style. Perhaps this was old hat by 1993, but I still find music like this charming. 

Ownership: 1993 Avalon (CD). Acquired in 2017.

11/18/17; 6/2/24 (review)

6/2/24 (new entry)

Out of Focus (& related) ~ Germany

Out of Focus (1971)

Out of Focus' second album is largely an extension of their debut. Politically charged lyrics provide context for the Krautrock 101 sounds the band inevitably brings. As I noted on their next opus Four Letter Monday Afternoon, one can already hear Out of Focus taking the Xhol Caravan blueprint to the next level. Flute, sax, Hammond organ, and guitar are your key ingredients, with some prophetic pleas in accented English. Musically it's the 1971 German cookbook with pages dedicated to albums by Eiliff, Sunbirds, Mythos, Virus, Vinegar, Gomorrha, etc... etc... How many of these albums you needs depends on your commitment to the cause. I want them all.

Ownership: 1991 Kuckuck (CD). Paper textured booklet with recording details.

1999 (acquired); 6/2/24 (review)

Kontrast - Volume I & II (1986 / 2008)

Kontrast was Out of Focus Ver 2.0, and at this point in their career they sounded more like Embryo than Embryo did! Kontrast band leader Remigius Drechsler had been with Embryo for about a year, so perhaps not so surprising. Strong ethno prog/jazz rock with flute, sax, stringed instruments, with Asiatic / North African melodic themes. Some fusion and more than a hint of the psychedelic. Very much out of its time, and decidedly non-80s sounding.

Volume II is a full album of archival material. A bit more loose than the album proper but still satisfying.

Ownership: 2008 Cosmic Egg (CD)

2002 (first acquired); 2009; 4/19/18 (review)

Not Too Late (1974)

Out of Focus' Four Letter Monday Afternoon was a tour de force, a double album packed to the gills with invention and energy. So much so, it knocked the band themselves completely on their arse. They were spent. Or so it seemed. As we eventually found out, Out of Focus retreated to the countryside to record more material (stoned out of their mind most of the time apparently...), and played at various festivals and small gigs in obscurity. They were even spotted at one of the Umsonst & Draussen festivals in 1978, an era of the band that remains uncaptured as I write this. By 1974, one can hear Out of Focus following in the footsteps of Missus Beastly. Some of the melodies here are beautiful, and the instrumentation is fantastic. Had they spent more time arranging these compositions for proper release, I'm sure this would be a 5 star masterpiece just as Missus Beastly's Nova label album is. And that's really the only critique, is that the album meanders in jam mode for long stretches. And depending on my mood, that can be a plus too. As an archival release, it's brilliant, and captures the band at a certain time and place as they were, without editing. And the sound quality is fantastic, sounding better than many new albums did at the time. For fans of the band, an easy recommendation. Otherwise, not the place to start, as it doesn't provide the proper context.

Ownership: 2000 Cosmic Egg (CD). Historical liner notes.

2000 (acquired); 3/4/17 (review)

Four Letter Monday Afternoon (1972)

When I was first introduced to Four Letter Monday Afternoon in the 1980s, it had been described to me as a Krautrock version of Soft Machine. A local friend at the time, who is a huge fan of Soft Machine, vehemently disagreed with such an assertion, and found it somewhat offensive to compare. And while I can understand his perspective, it's also not a wild stretch to make such a claim. There is a bit of Canterbury whimsy within some of the songs, most notably 'Where Have You Been' and 'When I'm Sleeping' (bonus track). And taking the comparison further, there are long stretches of experimental rock with a jazz underpinning. But the keyword here is Krautrock, and it's clear that Out of Focus were heavily influenced by their own local contemporaries more so than what was happening in England. There's a considerable amount of stinging psychedelic guitar, echoed flutes, horn charts, and jamming Hammond throughout. And it remarkably stays within the rails for most of the duration (Side 4 the sole exception), with plenty of melodic interludes, despite being improvisational in nature. I could see this album as the logical conclusion of where Xhol Caravan was heading post Electrip, though that group decided to trip out further instead. Deep divers will also hear bands as diverse as Eiliff, Roundhouse, and Kollektiv. Honestly, I think Four Letter Monday Afternoon is entirely unique, even different from their own work, and is a great example of the exploratory spirit to be found in Germany at that time.

Ownership: 1992 Kuckuck (CD)

1998 (acquired); 7/12/06; 10/23/16 (review)

Other albums I own and need to review: Wake Up; Rat Roads

10/23/16 (new entry) 

Gonzalez ~ England

Our Only Weapon is Our Music (1975)

With a cover like that, and considering the group moniker plus the title, there's no way this album isn't going to be a winner. This will be a Latin rock extravaganza, right?

Not really. At first I was a bit disappointed, but as I played through it a couple of times, I warmed up to it quite a bit. The first name I recognized after finding the album was vocalist Lenny Zakatek. Who's that? Ah, he's one of the primary singers on some of the classic Alan Parsons Project albums, including their funk classic 'I Wouldn't Want to Be Like You'. Apparently Parsons was producing an album next door when he heard the band rehearsing. And that funk leaning is exactly where Gonzalez sits. Their music is more Latin funk meets fusion than rock oriented. Side 1 is still a bit marginal for my tastes with a couple of highlights, but Side 2 is almost all aces. Especially the last three tracks. 'Ahwai Five O' (lol, named after guitarist and composer Robert Ahwai) is a really fine instrumental fusion number. 'Crystal Blue Persuasion' reminds me of Malo when in a similar Latin pop mood. The album would have been better served had it featured some ripping guitar solos in the Santana mode, but that's not what Gonzalez were about. Naturally the band went on after this and tried to capture the disco market with limited success. I still want to hear them if afforded the chance.

Former ownership: 1977 EMI America (LP). Acquired in 2024. Downsized in 2026.

6/1/24 (review)

6/1/24 (new entry)

Atomic Rooster (& related) ~ England

Hard Stuff - Bulletproof (1972)

Hard Stuff is essentially Atomic Rooster without Vincent Crane. Though without the latter, you don't have Atomic Rooster. In any case, that band was a power trio with an organ, guitar, drums lineup. Hard Stuff is a traditional guitar-bass-drums setup. Perhaps because there is no keyboards, Hard Stuff doesn't even bother with proggy nonsense. This is straight up hard rock, no chaser. Up there with the boneheaded best like May Blitz, Elias Hulk, Pinnacle, and the rest of them. Were any of these tracks on a private 45 release from the States, you could pretty much bet that it's $500 to get in the door, and a lot more at the tables.

Ownership: 1972 Purple (LP). Gatefold. Interesting to note this album has never been issued here in the US. 

6/1/24 (acquired / review)

Atomic Roooster (1970)

Atomic Rooster was born out of The Crazy World of Arthur Brown, and were one of the first bands to introduce the keyboard progressive rock trio. Of course The Nice were the progenitors, and the combo of both these bands ultimately formed Emerson, Lake, and Palmer. Perhaps you've heard of them. The lineup for Atomic Rooster's debut (title spelled with 3 O's) is two-thirds unique to this release, and adds some unique twists to their formula. There is no guitar for one, and there's the addition of flute for another. All the same, even sans guitar, this debut rocks hard. Plenty of great songwriting as well. One of the pioneers taking England from the psychedelic era to progressive rock, and ultimately worldwide. One can hear Atomic Rooster in some of the Italian prog bands that were to emerge only two years later, as but one example.

Ownership: 2017 Esoteric (4xCD) Box set entitled Sleeping for Years. Includes a full history, all five of their original incarnation albums, and copious bonus tracks. Includes three tracks rerecorded with John Du Cann's guitar (all excellent). Apparently this version was to be released in the US, but that never happened. Also included are two demo tracks for Death Walks Behind You, including one with Carl Palmer. And finally the A-side to their single, which was released after their second album. The B-side resides on disc 2.

2003 (first acquired); 5/25/17; 8/27/23 (review)

Atomic Rooster (1980)

A very interesting curveball from the music scene that was 1980 England. Atomic Rooster felt they belonged closer to the new metal and punk movements rather than the old dinosaur keyboard rock of Rainbow or ELP. So they went about releasing a very hard hitting rock album, with sneering vocals, guitars, and... Hammond Organ. What? The latter from band leader Vincent Crane is the x-factor here. A complete throwback to 1972 in an otherwise heroic attempt to be relevant. Which probably explains why Atomic Rooster could never get over the hump to the next level. As with White Spirit, they were no Judas Priest. In retrospect though, it's a very cool anomaly. Paved the way for the 90s renaissance of bands such as Death Organ or jazz rock revivalists Niacin. But those were made for niche markets, not the masses that Atomic Rooster were attempting to play to. And it does beg the question: Does this have the most Hammond of any rock album from the 80's? I'm thinking the answer is yes.

Ownership: 1980 EMI Germany (LP)

7/14/23 (review)

Other albums I own and need to review: Death Walks Behind You; In Hearing Of; Made in England; Nice 'n' Greasy

7/14/23 (new entry)

Sanctuary ~ USA ~ Seattle, Washington

Into the Mirror Black (1990)

Into the Mirror Black is an improvement on Sanctuary's debut. The tones have more heft and the songwriting has become both more complex and melodic. I really miss this era of metal when it was just as important to craft a composition as it was to demonstrate how complex they can play. Everything here has balance and it never feels like it's going off the cliff. Late 80s Fates Warning comes to mind here, though Sanctuary were more grounded in thrash. And Warrel Dale is the perfect singer for this kind of music. He sings at the higher registers, which was de rigueur back then, but it's well within his range and control. No ball squeezing shrieks here. From here, Dale and bassist Jim Sheppard went on to form the heavier Nevermore, a band that achieved great underground success before Dale's untimely passing in 2017.

Ownership: 1990 Epic (LP)

5/28/24 (review)

Refuge Denied (1987) 

Debut album from Seattle based power metal band that is more famous for their subsequent group Nevermore. The stakes were pretty high for 1987, and while Sanctuary puts in a strong power metal effort, it does pale to some of the competition. Good riffage, but it seems there isn't enough of them. Warrel Dane screams with the best of them, though. Not too fond of Dave Mustaine's hollow and slick production either. Lacks oomph. 

This is one of those albums I feel compelled to keep, primarily because I probably won't find it again. But when the great purge happens, I doubt this one will make the cut. From a release perspective, Refuge Denied was initially issued as a CD, and the LP was an afterthought released a year later. Only one US pressing, demonstrating that Sony didn't expect too much demand, and I'm sure they were right. Hence its obscurity today, like many other albums of its ilk.

Ownership: 1988 Epic (LP)

7/20/23 (review)

7/20/23 (new entry)

Hällas ~ Sweden

Excerpts from a Future Past (2017)

The debut from Hallas clearly draws from the North American proggy hard rock school of the mid 70s. Analog instrumentation rules the day, in particular the Hammond organ and vintage synthesizers. What I like most is the melodic songwriting within this structure, including during the solos. It's interesting to note just how many of these type of bands have emerged from Scandinavia over the last 30 years or so. One wonders the impetus of this phenomena. It's much more acute than here in North America itself. While we certainly have many enlightened folks reimagining the past, they're still a very small part of the overall global prog community. No complaints from me, I think the genre has plenty of room for more mining. It's a type of music that can go in any direction at any time. And those warm analog tones make it just that much more enjoyable to listen to.

Ownership: 2017 The Sign (LP). Gatefold with printed inner sleeve. 

5/28/24 (review) 

Isle of Wisdom (2022)

Hällas (Hallas if searching) are one of many Scandinavian bands playing in the retro progressive rock / hard rock space, doing their part to bring back the mid 1970s. Reminds me some of the debut by Australia's Tarot, but perhaps more progressive oriented. This is their 3rd full length release (4th if counting the EP), and apparently this album represents an improvement in production. Isle of Wisdom is my first exposure to the band, though I'll be sure to check out the others if afforded the chance.

Ownership: 2022 Napalm (LP). Gatefold with lyrics. 

6/8/22 (review)

6/8/22 (new entry)

Contrevent ~ Canada ~ Montreal, Quebec

Terre de Feu (1993)

To provide context below, I first acquired the CD in 1996.

---Sep 2004

This is certainly better than I remembered! Excellent grooves with violin and guitar (with nice fuzz tone) providing the solos. Nice use of vibes and acoustic guitar too. Keyboards range from atmospheric electronics (excellent) to digital brassy interludes (negative). Rhythms are jazzy scattered with thundering bass (though the rare slapped bass makes me wince). For modern fusion prog, this is tough to beat. If Contrevent would have exploited their more rough edges (like the fuzz bass), this would be even better.

---5/24/24

Having absorbed the album twice last night for the time since (the 2019 listen below was not as focused - I happen to remember), I think I captured the sound pretty well. As the years pile up, I find myself gravitating more and more to these melodic jazz rock outings. On Terre de Feu, the melodies have a naive quality about them that I find endearing. Almost a nostalgic lookback to the late 60s and early 70s from that standpoint. Contrevent successfully brought back the Quebec all-stars of Maneige, Contraction, and Sloche.  Everything here is seamless, and the production a cut above for a private such as this. Contrevent's style was not a common sound in 1993, predicting the retro movement that was only a few years away. I find all the songs here enjoyable, but special mention goes to 'Le Miroir Des Yeux'. 

Ownership: 1993 CTV (CD)

1996 (first acquired); 9//04 (review); 12/26/19; 5/24/24 (update / new entry)

Electric Orange ~ Germany

Abgelaufen! (2001)

I've often referred to this album, their 4th (proper), as their "return to form" work. After a couple of diversions into the world of electronica, Electric Orange go back to their Krautrock roots. At times I feel this is more show than content, but that might be a bit of a cynical outlook. Their stock-in-trade is atmosphere, and they do truly capture the kosmiche kouriere in us all. Rhythms galore, wah wah guitar, heavy Hammond, mellotron overlays, and phased voices all play a role in this. There's even some Klaus Schulze styled electronic rock here. Orange Peel meets Can? Sure, why not.

Ownership: 2001 MPL (CD). Tri-fold with photo collage and recording details. Acquired in 2002.

2002; 5/19/24 (review)

Misophonia (2016)

Misophonia is Electric Orange's 11th proper studio album. They were one of the first Krautrock revivalists from the Fatherland, and have more or less stayed on script throughout their 25+ years career. I started with the band at the beginning, and have dutifully picked up all their albums to date. And the all instrumental Misophonia definitely has the right sounds, with rumbling drums, and grungy Hammond organ to the fore. So it comes as a surprise to me that I really don't enjoy this album very much. It's certainly good enough, but for Electric Orange, it's a sub par effort. I picked up the CD upon release, and heard it last year for the first time - and have stuck with it now for over a year. But the needle isn't moving.

So what gives? Well... I've struggled to put my finger on it, but for one thing there is no songwriting. Now with Krautrock that certainly isn't de rigueur, but most at least intersperse a few melodies among the chaos. Electric Orange did not do that either. But if there aren't any songs, then one would look for a climatic payoff of some sort - a build up to an intense jam for example. Nope, not here. Then there's the lack of tonal diversity. A flute, saxophone, or more electric guitar would have helped immensely. The latter is there primarily to set the tone, but doesn't play a major role in the album. In effect, Misophonia is one of those albums that has all the right ingredients, but doesn't taste right. To be honest, it's a bit dull. If I were to characterize the album - it would be something of a new genre - Ambient Krautrock. Not electronic in the slightest - definitely a rock based album. But it's very static. I do think that's what the band was striving for. To create the mood of the original early 70s Krautrock movement. To that end, they succeeded then. But that's all they did. Overall, I expected more.

Former ownership: 2016 Studio Fleisch (CD). Acquired in 2017. Downsized in 2020.

7/15/17; 4/29/18 (review)

Morbus (2007)

So here I sit with Morbus, an album that immediately brought to mind the earlier Platte, except it’s even more heavy, intense, and relentless. And I don’t mean that in the I-can’t-take-it-anymore-noise-fests of Acid Mothers Temple, but rather this is far more measured, where they capture a groove and expand upon it, rather than destroy it to the last note. When the group started, they were more or less an extension of Dirk Jan Muller’s one man show. Now it’s a fully fledged five piece group, armed with the latest in technology and a pile of vintage gear (especially in the keyboard department). I like the addition of the German narration, the wordless female vocals, and even the occasional lyrical song in English. Electric Orange are getting better as each year passes.

Ownership: 2007 Sulatron (CD). Booklet with band photos. Acquired in 2007

11/13/07; 6/6/17 (review); 3/23/22

Netto (2011)

In 1993, Electric Orange almost single-handedly restored the cosmic Krautrock genre back to greatness (with the exception of some truly obscure outfits like Attempt to Restore, Nova Express, and Der Kampf Gegen den Schlaf). They took a detour shortly thereafter into the realms of electronica, realized the error of their ways, and returned back to form in 2001 with Abgelaufen!. Since that time, Electric Orange have gone from amateur to professional status, added more band members, and have released a number of quality albums with consistency.

---9/17/24

I've gone back and forth on this title, but in the end, it's too static for my tastes. A lot of rumblin' and bumblin' but it never seems to take off or go anywhere. It's a fine effort for developing a particular kind of atmosphere, yet I couldn't identify what that is.

Former ownership: 2011 Sulatron (CD). Acquired in 2012. Downsized in 2024.

2/13/12 (review); 8/18/22; 9/17/24 (update)

Other albums I own: Electric Orange (1993); Orange Commutation; Platte; Krautrock From Hell

Formerly owned: Volume 10

2/13/12 (new entry)

Garden Wall ~ Italy

Principium (1993)

Garden Wall's debut is a rather humble beginning for a band who would eventually blow the doors off of the creativity well. All the same, it's aged quite well for me. I didn't even like it the first time I heard this not long after release. If I recall my headspace back then, it seemed too lightweight for metal, and not complex enough for prog. While it could be called more "typical" prog metal, there are plenty of progressions here that were unusual for the time. A groundbreaking group who continued to improve leaps and bounds from here.

Ownership: 1993 Music is Intelligence (CD). Lyric booklet. Acquired in 2011.

1993; 12/14/11; 5/13/24 (review)

Towards the Silence (2004)

---Jun 2005

Not sure where the band would go after Forget the Colours. After a slightly ordinary beginning (for GW at least), the band launched into yet another indescribable opus prog, metal, avant-garde, God knows what classic album. Progressor says this about them: “No doubt, Garden Wall is the most underrated prog-band of the present day. As a matter of fact, these very Italians are, in my opinion, the most innovative and original contemporary progressive band.”. He also says they are the metal equivalent of the RIO movement, which I thought was perceptive. Towards the Silence is definitely not as aggressive as the prior album, and that’s a good thing, or it could’ve been a mess (some say it was anyway). Even a couple of (gasp) mellow tracks. With music like this, I usually start at 4 stars… some stay, some go down, some go way up like FTC did. Really great to hear such innovative composed music with so much muscle.

---1/13/23

  

I've written extensively about Garden Wall in the past. From the brilliant neo Italian prog of Path of Dreams to the insane prog metal of Chimica to the psychotic thrash meets VDGG of Forget the Colours, Garden Wall successfully challenges the realm of possibilities. But I can't get into Towards the Silence (so it went down as the above mentions could happen). It's just too much. Too much of what I dunno, but it's a bit forced in trying to find its muse. If you can't find it, grind it. And grind it they do, for the full length. Just not very enjoyable though admirable all the same. I have enough Garden Wall to satisfy already.

Former ownership: 2004 Mellow (CD). Acquired in 2005. Downsized in 2023.

6//05 (review); 12/30/08; 1/13/23 (update)

   

Path of Dreams (1994)

I've written about Garden Wall in a few posts already, so I won't cover too much of that again. Path of Dreams is their second album, and the one I point to as the beginning of the sound they are most famous for. As I've said before, Garden Wall pretty much marched to their own drummer. While listening, whatever you think might happen, probably won't. Like watching the original Game of Thrones episodes, it defies all normal convention. Looking like a couple of mental patients on the back cover (on purpose I presume...), Path of Dreams fulfills that one expectation, especially considering Alessandro Seravalle's vocal delivery. This is one of those albums that ostensibly gets filed with prog metal, but could just as easily be true progressive rock (though not the kind that what we typically associate Italy with). Any way you slice it, complexity is its calling card. Almost every track here requires multiple listens to absorb. My favorite is 'The Bride of the Wind' as it contains the album's most memorable melody, and its placement in the album order is bizarre and fascinating. Of course it is. The 1990s harbored all sorts of these odd progressive bands that are mostly forgotten today. Rediscovery awaits, but I'm certainly glad to have lived it real time. If you're looking for something different - and very progressive - Garden Wall is a band worth following. And Path of Dreams is one of the easier albums to get into compared to some of their others.

As an aside, can someone enlighten me on the language used in Maj di Muart? I presume it's a regional dialect, as the group's origins are very close to Slovenia and Austria. I tried typing the lyrics into Google Translate but it kept flipping back and forth between Italian and Krio, the latter is a Creole type language spoken in Sierra Leone. Ah wait - I think I answered my own question after further research: Friulian it's called. It's a part of Italy I've never been to. Though I've been on a train through it coming from Slovenia. Need to go there.

Ownership: 1994 Music is Intelligence (CD). Recording details, lyrics, and paintings. Acquired in 1995.

1995; 8/9/13; 7/25/22 (review)

Chimica (1997)

---8/26/06

On Chimica, Garden Wall’s 4th album, the band had really progressed to new levels of intensity and intelligence. It wouldn’t be too far out of place to state that Garden Wall are a few branches of further growth from the Semiramis tree, demonstrating their Italian progressive rock heritage. Lead vocalist / guitarist Alessandro Seravalle is truly one of the more creative minds to emerge on the progressive music scene in the last 20 years. He pretty much just marches to his own drummer and could be seen as a genius, or insane, depending on one’s perspective. His vocal style is best described as strange, somewhere between Peter Hammill and a madman (some would argue that’s the same thing). It’s a style that’s very appealing for the chaotic music he and the band create. Keyboardist Mauro Olivo plays almost entirely in counterpoint mode, giving the music a disorienting feel. While Garden Wall always had a heavy streak, Chimica is the album where they leaped whole hog into the metal camp concerning the guitar tone. Which is not to say they are a Dream Theater style prog metal group, not even close. This is real progressive music, in the true sense of the word, not just a genre tag. The 34 minute multi-part opening track ‘Chemo’ goes through many different sections while still maintaining the sense of a whole composition (something that is rare to find in modern bands). For fans of their earlier style, Chimica is seen as an album going in the wrong direction, but since there are plenty of keyboards and acoustic sections, it was passable. For folks like myself who love this kind of creativity while still rocking out, Garden Wall were continuing to progress into new exciting realms. It would be five years until their next album, and not only did they continue to polarize the progressive listening audience, they blew a hole in the universe.

---6/6/21

Listening to this tonight. Not much to add to the above. I wish it had more bass - it's very trebly. And Mauro Olivo's keyboard tones are pretty much the same throughout, minus the piano of course. Seems he should have taken advantage of the modern technology at his disposal. All that said, it really is an imaginative album that goes all over the place. Few bands were at this Italian band's level of creativity at the time of release.

Ownership: 1997 Music is Intelligence (CD). Booklet with English lyrics and computer artwork. Acquired in 1998.

1998; 6//05; 8/26/06 (review); 6/6/21 (update)

Assurdo (2011)

For those folks that are constantly asking to hear an album that is truly "progressive" rather than "it's progressive in the 1970s sense of the word", then I offer up to you Garden Wall's Assurdo. Garden Wall has always been a creative bunch, but they've really upped the ante this time. After about five listens, I cannot possibly describe this album. Many others have attempted to do so however. All of them very thorough, and quite excellent. No two are alike. I don't think it's possible for anyone to hear this album the same as someone else. About the only continuity in the reviews I've read is that Assurdo is unique. That's for sure.

They still have the Van der Graaf Generator meets thrash metal backbone of Forget the Colours, but do not be scared by that description. There's so much at play here, that at times you imagine you are hearing the classic Italian progressive rock scene being played out 200 years from now. Is it genius? How could I know - I'm for certain not one, but it is impossible to deny that Garden Wall continues to push the boundaries of progressive rock. This isn't tuneless cacophony in the name of Avant Garde, but rather a fully realized and coherent work. Check it out for yourself. Write a review. It will be different than the others you have read.

Ownership: 2011 Lizard (CD). Lyric booklet. Acquired in 2012.

3/13/12 (review); 1/22/24

Other albums I own: The Seduction of Madness; Forget the Colours

3/13/12 (new entry)

French TV ~ USA ~ Louisville, Kentucky

The Violence of Amateurs (1999)

The Violence of Amateurs is too much embracing the Avant Prog model trying to appease that crowd. Ruins the flow of a perfectly good progressive rock album something that French TV excels at, and proves that here on occasion. Their highest rated album, but not in my world it isn't. 

Former ownership: 1999 Pretentious Dinosaur (CD). Acquired in 2001; Downsized in 2024.

2001; 7/22/15; 5/12/24 (review)

10: I Forgive You For All My Unhappiness (2010)

My opinion of this album is pretty similar to Panzerpappa's Astromalist. I can appreciate the structure of notes and arrangement of instrumentation. But I don't necessarily "get into it". I went too far with French TV's catalog, continuing to buy without giving it much thought. They start to run together after awhile. I think they peaked during the mid 2000s and I probably should have stood pat at that point. Oh well, they're worthless, so might as well keep it.

Ownership: 2010 Pretentious Dinosaur (CD). Acquired in 2010.

10/22/10; 9/12/23 (review)

 

11: Ambassadors of Good Health and Clean Living (2016)

Ambassadors of Good Health and Clean Living is the 11th album from French TV. Their patented brand of instrumental music typically straddles the fine line between Avant Prog and Canterbury styled fusion. On this effort, the needle definitely points to the former. Even though they are joined here by the fine Japanese band TEE, a band deeply rooted in the European progressive rock tradition, French TV's sound doesn't seem to be affected much by their presence. As is often the case with Avant Prog, the music is intricately composed and superbly executed. All the same, it lacks groove and soul, something I tend to champion more as I get older. Music like this seems charted for performance at a symphony hall. One wishes they'd let their hair down, and kick out the jams brothers and sisters. Oh well, still a fine effort despite the cold calculating disposition. However it does appear the band is on the slow decline to irrelevancy. This one was predictable in its unpredictable metric style. 

Ownership: 2016 Pretentious Dinosaur (CD). Digipak. Acquired in 2016.

5/28/16 (review); 2/19/24

 

After a Lengthy Silence (1987)

Fine sophomore album from French TV, a band that continued to grow leaps and bounds from album to album. After a Lengthy Silence is mostly an instrumental progressive rock, heavily influenced by jazz fusion, with a surprising space rock ending. The production is typical of the muddy late 1980s, and holds back the potential of the material. This aspect of the band would also improve as time went on.

Ownership: 1987 Y Records (LP). Acquired in 1990.

1990; 1995; 2009; 11/14/15 (review)

9: This Is What We Do (2006)

Another new album from French TV. Another great album from French TV. There are few bands that can match French TV's consistent high quality over a long period of time. For 20+ years, French TV has produced and continues to produce complex, challenging progressive rock. Even more amazing, they actually get better with each release. Now they didn't set the bar real high in their early years, but they never put out a bad record either. But they seem to be getting better almost exponentially. I’m in awe of a band who can release nine albums in a 23 year time span, and never sound stale, retro or trendy. They never mail it in. And they are what one would want from a band that carries the heady term of progressive around. French TV are a mix of Avant Prog, Canterbury, big name UK symphonic, French and Scandinavian styles, even some of the more obscure over the top US progressives like Cathedral and Mirthrandir (and yes, they would have had access to these bands since their inception). But mostly they sound like French TV. In fact, as I hear This is What We do, I recall another elder statesman of creative rock music: Patrick Forgas and his Forgas Band Phenomena. Commercial success was never part of the blueprint for these gentleman. The material they compose is both complex and mature, yet still maintains the edge of youth. We have so few role models in rock music that carried the creative banner for decades, so we must look to jazz and icons like Miles Davis to see this kind of pushing forward as the years go by.

This is among my favorite releases by French TV. I've never listened to all of their albums back to back, but it would probably be interesting to note the ascension.

Ownership: 2006 Pretentious Dinosaur (CD). Acquired in 2007.

4/24/07 (review); 9/30/11 (update)

Other albums I own: French TV (1984); The Case Against Art; Operation Mockingbird

Previously owned: Virtue in Futility; Intestinal Fortitude; Pardon Our French

9/30/11 (new entry)

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)