Diamond Reo ~ USA ~ Pittsburgh, Pennsylvania

Dirty Diamonds (1976)

Pardon the expression, but here's a real diamond in the rough. Pittsburgh's Diamond Reo started and ended as a rather typical 70s glam band, at least that's what I've read not having heard these albums. But in the middle was one try at gritty midwest styled hard rock, of the kind you almost exclusively find in the private press world. There are ten tracks here and almost all of them feature some nasty guitar riffs and solos. A couple of tracks on Side 1 (A3, A4) are more basic, but otherwise this is hard rock heaven. Nothing at all commercial about it. If Diamond Reo could have navigated the mid 70s terrain like Frank Marino did, then great rewards would have been for the taking at the end of the decade with the success of Van Halen and the like. But it wasn't meant to be and Diamond Reo is a band very few have heard of. Look for this title in the budget bins if you have a taste for 70s hard rock. Also lend an ear to 'It's a Jungle Out There' and tell me that maybe Axl Rose and the boys might have stumbled onto this album in their youth.

Ownership: 1976 Buddha Germany (LP)

11/28/18; 9/6/21; 8/8/24 (review / new entry)

Existence ~ Germany

Reign in Violence II (1990 / 2004)

I often state that I like my heavy metal a bit on the messy side - highly creative, unusual, quirky, and unpredictable. Let me introduce you to the latest band I've heard in this category: Existence. From the first notes, I knew this was going to be in my wheelhouse. The riffing and solos are excellent, the vocals are somewhat normal, and the music is all over the place. Now on this latter observation, I'm not a fan of genre hopping or avant garde dissonance. It's none of that, rather it's a very familiar sound but off-kilter. In the end it sounds like Iron Maiden playing the music of Manilla Road with a side of early Fates Warning. The vocals and NWOBHM's heritage recall Legend (UK). Competent and creative, but not pitch perfect, not even close. Existence defies their German heritage and sounds like a band that could have emerged from the garages of West Virginia. And 1990 was the height of these bands rising to the surface. Most received no press coverage and were a memory of but a few that saw them in the dingy clubs of the era.

As if to prove their quirkiness, Existence's existence (as it were) is also murky. Their debut Reign in Violence was recorded in 1990 but not released until 2001. To add to the weirdness, that debut only came out on LP. In 2001? So they missed the cassette and tail end of the LP era only to release an LP in the middle of the CD era. OHKaaay. Their next recording wouldn't be until 14 years later, the cd-r only Ventricular Fibrillation. By then the few that did know Existence had long forgotten them and this oddly titled release didn't get them any further notice. They did release one more CD in 2008 which I haven't heard.

To take the strangeness one step further, the privately released Reign in Violence II compilation features the above two albums. Neither in full (first album is missing one track and the latter is missing three), but the oddest part is the way the tracks are presented. Every other song comes from one album or the other. And while their musical approach didn't change at all in those 14 years, their sound did. So it's a rather jarring contrast going back and forth. One from a 1990 era tech metal production album to another 2004 production, which has an almost industrial sound to it. It's just bizarre really. The booklet doesn't help, providing lyrics to only the Reign in Violence album while the other you would think might be instrumental (it's not). The back cover color codes which album each track comes from, but they don't provide a key to the colors. And just to put the final nail in the insane grave, they inserted one 15 second uncredited instrumental in the middle, so even the track numbers don't match for the latter two thirds. What a mess.

Ownership: 2005 private (CD)

8/4/24 (review / new entry)

2024 Psychedelic / Garage Journal Vol. 2 - Complete

The Association - Greatest Hits. 1968 Warner Bros-Seven Arts (LP). From a large garage sale buy in Monument (Jul). It retails at a dollar even today, so bought it only because I was curious. I always think I like The Association more than I do. Their hits sometimes appear as a soundtrack to various shows, and they sound great there. But as an album, even a collective of their best tracks, don't transcend that Free Design, Beach Boys, Strawberry Alarm Clock bar of harmony based popsike greatness.

The Mama's and the Papa's - If You Can Believe Your Eyes and Ears. 1966 Dunhill (LP). Thrift shop find (Jun). Early pressing but not the toilet bowl cover. Any album with 'California Dreamin'' is worth hearing. What a great track for its era. 'Monday, Monday' is the other hit here, and sure enough it's the second best track. The rest is rather typical mid 60s folk pop with slight psychedelic overtones. I have a CD comp that cover the best tracks here, so I can move this out.

*various artists - Psych-Out soundtrack. 1968 Sidewalk (LP). Nice score from a local antique mall priced well under going rates (May). The Strawberry Alarm Clock cuts are featured on their albums, so for me the highlight is the The Storybook, who have a similar songwriting style. Also one track each from The Seeds and Boenzee Cryque.

The Grateful Dead - Aoxomoxoa. 1987 Warner Bros (1969) (CD). Thrift shop find (May). For the most part this is rambling country rock. The music doesn't match the image or the reputation. They will always be known as a live act. And much better for their legacy because of it.

* - Keeping for the collection

2024 Fusion / Jazz Journal Vol. 3 - Complete

*Jimmy McGriff - Tailgunner. 1977 Lester Radio promo (LP). From T&R sale (Aug). Of all the albums from this haul, this is the one I was most looking forward to. And I was rewarded with the best listen in the stack (along with a metal album that you'll see whenever I publish that journal - it was a very eclectic sale). McGriff is well known as a soul jazz Hammond B-3 player, sort of like a friendlier version of Larry Young. By the 70s, he'd hopped onto the jazz funk train like everyone else. Four out of the six tracks are written by the songwriting team of Brad Baker and Lance Quinn and they are all aces. Fantastic melodies, good grooves, and fine soloing. The title track even sports a hard rock edge that is quite appealing in this setting. Guitarist Jerry Friedman's Bullfrog is a fun track, also with a strong rhythm. However this was in the era when everyone was trying hard for a signature dance tune. And "Dancing The Bullfrog" didn't make the cut lol. McGriff's one composition closes the album and is arguably the weakest track here, harkening back to an earlier era but with a disco beat. To make a great salad, one needs to do more than pour new dressing on old lettuce. Very nice gatefold cover too.

*Yamashta / Winwood / Shrieve - Go. 1976 Island (LP). From a thrift shop (Jul). All these years and I still hadn't heard this album. It's much better than I thought it would be. A strange combination of high flying fusion and electronics, with some art rock thrown in. Al Di Meola gets in some mean licks and Klaus Schulze brings his signature synthesizer sounds. The art rock sections recall later era Far East Family Band. This is an album I think I'd rather have on CD. I'll keep an eye out for a cheap copy of the Esoteric release.

*Milt Jackson - Sunflower. 1973 CTI (LP). From the same place as the Hawkins (Jul). I usually don't get very excited when knowing an album is jazz with vibes in the lead. But on Sunflower the album is more moody, and the vibes remind me of how they are used in Krautrock at times. Freddie Hubbard's title track has a great melody too. Features an all-star cast of jazzers.

Coleman Hawkins with Kenny Burrell & Ray Bryant - Soul. 1962 Swingville Stereo (LP) (1958). From an estate sale warehouse (Jul). Pleasant jazz jazz.

Herbie Hancock - Secrets. 1976 Columbia (LP). Thrift shop find (Jul). Still heavy on the funk though some of the tunes are becoming caricatures of the sound. Nevertheless a solid entry for the genre, but I have way too much of it as it is. 

Cannonball Adderley and the Bossa Rio Sextet with Sergio Mendes. 1968 Capitol (LP) (1963). Thrift shop find (Jul). I've become a huge Bossa Nova fan, and in particular I really enjoy Sergio Mendes. But this album is way too friendly in a jazz standard kind of way. Doesn't have the melodic magic of Mendes' later works. Maybe it's just the sax playing - doesn't translate well.

Bobby Timmons - Workin' Out! 1965 Prestige (LP). Beautiful original copy found at an antique mall for a fraction of going rates (Jul). More trad jazz with Johnny Lytle's vibes all over it. Pleasant but not my thing.

* - Keeping for the collection

2024 Funk / Soul Journal Vol. 2 - Complete

Silver, Platinum & Gold - Hollywood. 1981 Neptune promo (LP). Purchased with the David Astri (Jun). A more typical disco album with plenty of synthesizer moving it into the boogie category. Too many vocals and a few handclaps sink it for me, but it does have some stellar moments, especially the guitar. Very obscure album.

David Astri - Do it Right. 1983 Award (LP). From an antique mall (Jun). This was an extension of the sale below. The records were more expensive, but so are their worth. I only paid a fraction of going rates. Musically quite a good mix of electronic, disco, and boogie. As good as THP Orchestra, more 80s though. I'd consider keeping it but I think I'll take the profit since it's not really my genre of choice.

*T.H.P. Orchestra - Two Hot for Love. 1977 Butterfly (LP). From a large garage sale purchase also cataloged in the Jazz journal and others (Jun). This is their "debut" though in reality there's one prior to this. All of side 1 and the first half of side 2 is just as great as the Tender album. Hardcore driving disco that keeps your toes tapping. The latter two tracks seem to be almost a different band and the disco is far more trite. All the same, I rate the two albums similar. About as good as it gets for the genre.

Cousin Ice. 1980 Urban Rock (LP). More from the garage sale (Jun). Ira Crossin was a rich kid from the Upper West Side buying his way into the Studio 54 set. He played sax and flute, but rather than join the conservatory circuit, he goes in for disco to get the hookers and blow presumably. This album should be a killer but it lacks the melodies necessary to make it work. All the same it's a pretty rare album that we'll be reselling.

Ozone - Glasses. 1983 Motown promo (LP). Same garage sale (Jun). A very different Ozone has emerged from the boogie inspired group of their 1980 debut. Glasses offers a unique blend of British styled new wave and American soul/funk. Never really heard anything like it before and for that it gets points. This was to be Ozone's final album, as I don't think they ever caught on with the general public. 

*Mandrill - We Are One. 1977 Arista promo (LP). Same garage sale (Jun). This is my second time to own this, the other going back 20 years without as much context as I have today. Mandrill were never a group to be pigeonholed and We Are One is no different. They've moved on from their proggy funk days over to the disco movement, but this isn't a garden variety album of that genre either. They're a large ensemble that remains very musical and there are many gems throughout. A worthy addition to the Mandrill catalog, just keep your expectations in check as to the contents.

*T.H.P. Orchestra - #2 Tender is the Night. 1978 Butterfly (LP). White vinyl. Same garage sale (Jun). This is the album that made me think twice about disco. A friend gave it to me in the early 90s. I wouldn't allow myself to like it, but I secretly did anyway lol. I eventually gave it away, but now have a different perspective. Besides this copy is much nicer. And I like it far more than I ever thought I would. This is a great example of composed music - with high quality musicians - performing what is perceived as simple. While the metrics aren't complicated per medium protocol, the bass player could care less and decides to make it complicated anyway. Ha! On Tender is the Night there is a 6 piece rock band, 6 more on horns, and no less than 10 folks on strings. Plus two female vocalists. So take that Mr./Ms. DIY stay-at-home computer musician! All these tracks are catchy as heck too. They just make you feel good. And want to make you dance for those who know how to do such a thing. I would have no idea honestly. The collective is from Toronto and were attempting to emulate the European disco craze. I think they surpassed it. The repetitiveness would prove to be its only weakness. Then again, repetition is the key to learning.

* - Keeping for the collection

2024 Fusion / Jazz Journal Vol. 2 - Complete

Michael Urbaniak - Body English. 1976 Arista promo (LP). Same garage sale (Jun). Side 1 seems stiff but I like the period sounds of Side 2. Almost a keeper but perhaps too slick and glossy.

Miroslav Vitous - Majesty Music. 1976 Arista promo (LP). Back to the garage sale (Jun). Solid fusion album from Czech bassist. Opening track has fuzz bass and that would have served the album better had he kept using it.

Jaco Pastorius - Invitation. 1983 Warner Bros. (LP). From a local antique mall for $1 (Jun). The opener I recognized from Maynard Ferguson's Primal Scream album. A wonderful 70s styled TV soundtrack composition. I'm not a huge "bass as a lead instrument" guy unless it's Zeuhl, and that's a different use altogether. Highly regarded album but doesn't sway me much.

*Larry Young's Fuel - Spaceball. 1976 Arista promo (LP). Same sale as below (Jun). A much stranger album than I had realized in the past. High creative and sounds like something that may have come from France during this era. There's elements of funk, jazz, disco, and prog throughout. Within the parameters Young boxed himself in with, it still sounds fresh and unique. Jazz and fusion fans aren't too keen on Young's departure from the norm, but I'm enjoying it immensely.

Airto - Free. 1979 CTI promo (1973) (LP). Same sale as below (Jun). Side 1 is an excellent variation of the early 70s jazz rock sound, deftly adding Brazilian touches. Side 2 starts with a free improvisation, hence the title. The last two tracks are on the happy side of jazz. Overall still very good, but only half an album for me.

*Isotope - Illusion. 1975 Gull promo (1974). (LP). Recently scored some minty jazz and funk albums (mostly promos) from a local garage sale all at very cheap prices (Jun). New member Hugh Hopper takes over with his fuzz bass and leads a very fine set of jazz fusion tunes. I've always liked this album but now appreciating even more. +1 listen.

Allen Youngblood - Selah. 1984 Griot (LP). From a local antique mall (Jun). Once I saw Julian Priester listed, I figured this might be a piece worth considering. And it was. Sort of a late era spiritual jazz release. A bit too traditional for me to keep, but glad I picked it up. Seems to be a price riser too.

*Stanley Clarke - Children of Forever. 1973 Polydor (LP). From a local antique mall (Jun). Much more personal than his later fusion works. Even a Magma vibe can be detected in the wordless voices. A solid release and the best I've heard from Clarke.

* - Keeping for the collection

2024 Hard Rock Journal Vol. 1 - Complete

Bow Wow - Hard Dog. 1981 SMS (LP). A couple of years ago I cataloged five different albums from a Japanese metal band called Anthem. I ended up selling them all - at a nice profit, but I was hoping to keep a few. I had the same opportunity with Bow Wow @$5 each. Probably I should have picked up more, but I sensed I was going to move them all straight to the sell bin. At least with Hard Dog that premise held true. This is already their 8th album, and I don't think I saw anything prior to their 6th, Telephone. After some research, I would be interested in hearing their 70s output. Whereas Anthem, who came a few years later, are most certainly heavy metal, Bow Wow are a hybrid of hard rock and metal. If you've read enough of my reviews, one thing you'll note is that my appreciation of American hard rock has much to do with the time and place aspect of it. Hard working blue collar clubs, where the patrons can let their hair down while drinking cheap beer and dancing with the ladies. I can always picture the dive bar the group is playing in while enjoying the music. I don't get that same vibe with Japanese groups - probably because I've never been there. And even if I had, the Japan of the 2000s wouldn't be the same as the 70s and 80s. But I bet there was a similar type scene, and it would have been exciting for fans at the time. But it's lost on me. Still it's a very good album, pretty safe and conservative all things considered. They sing in English - I think. From the RMRS (Apr).

*Pink Fairies - Never Never Land (1971). 2019 Polydor (The Polydor Years) (CD). I grabbed a cheap sealed copy of this 3xCD comp of all their albums plus bonus tracks and extensive liner notes. Pink Fairies debut demonstrates a varied album that contains both forward looking, contemporary, and retro styled sounds. I find the latter more to my taste with the melodic/loungey aura of 'War Girl' and the psychedelic jam of 'Uncle Harry's Last Freak-Out' being the highlights. As for their future outlook, add Pink Fairies to the list of groups that informed Motorhead with its punky straightforward hard rockin' music with gruff vocals. Took me a bit to get into this title, but I'm there now. (Mar)

*Pink Fairies - What a Bunch of Sweeties (1972). 2019 Polydor (The Polydor Years) (CD). Continuing my trek through the 3xCD set. This is Pink Fairies second album and it's even harder to get into than the debut. Much of this is because of the ridiculous sophomoric humor, a lot of it surrounding every 4th grader's favorite topic of the planet Uranus. Perhaps it still had some zing left in it by 1972 among young adults, hard to imagine though. The album doesn't really find its gear until track 4 'Marilyn', though they had to derail that with a drum solo (not too long fortunately). But there is one fantastic track here, side two's lengthy opener 'Walk Don't Run' is heavy psych at its best. B2 is also quite good. The CD offers an alternate recording of B1, making it that much better. Overall, perhaps not worthy of ownership on its own, but being part if this CD set will likely keep it around. (Mar)

*Pink Fairies - Kings of Oblivion (1973). 2019 Polydor (CD). Wrapping up the 3xCD set is Pink Fairies' final album from their original incarnation. This one goes for the throat early and never lets up. Lyrically they're all in for the glam scene though musically it's purely hard rock. There are no highs to be found like on the other two, but no dips either. A more consistent and respectable close to their original career. This 3 CD set is perfect for me considering where I land with the band. Liner notes and bonus tracks are good as well. Originals aren't necessary for me in this case. (Mar)

Haystacks Balboa. 1970 Polydor. I'd heard this album many years ago, but didn't feel like I'd digested it properly and didn't bother to rate it. So let's give it our full attention, shall we? Starts out fantastic with 'Spoiler', pretty much every thing you want in an early hard rock track: Heavy guitars and jamming Hammond. 'The Children of Heaven' is similar but has a weird vocal approach, like a modern metal singer actually. 'Bruce's Twist' has some bar n' roll, a style I took away on my first listen that had me frowning a bit. This leads to the nine minute 'Auburn Queen' which starts as a slow ballad and then gets all proggy like ELP with added guitar! Oh and doomy voice comes back too. So what have you concluded from side 1? Exactly, way too diverse. No solid identity. The album has many great moments but it doesn't hang together so well. Side 2 is similarly diverse throwing in some folk rock as well. (Nov 2023)

* - Keeping for the collection

2024 Psychedelic / Garage Journal Vol. 1 - Complete

---collection revisits

Os Mutantes. 2004 Polydor (1968) (CD). Another CD in my collection I had no recall of. I tend to be favorable to albums of historical significance. And that's where Os Mutantes scores marks in my book. I mean, a Sgt. Peppers type release from Sao Paolo in 1968 wasn't a common occurrence (in fact, it's generally considered the first rock release from Brazil). And that's where my praise ends. I don't really find this album all that great really, but it certainly makes up for a lot of shortcomings in spirit. Spouts of fuzz guitar never hurts either. Very much a period piece, I don't hear it anymore pleasurable than the St. Johns Green LP. (Mar)

Bobak, Jons, Malone - Motherlight. 2006 Air Mail (1969) (CD). Another quirky Morgan Blue Town release, closer to psych than prog, but no mistaking the progression. Whereas Pussy Plays took the first album Soft Machine approach, Motherlight had their ears glued more to Syd era Floyd, minus the lengthy instrumental bits. (Feb)

2024 Funk / Soul Journal Vol. 1 - Complete

A Taste of Honey - A Taste of Honey / Twice as Sweet . 2000 Capitol (CD) (1978/1980). Found this at a thrift shop in the Kansas City area (May / Oct 2023). I have my antennas out for CDs such as this, as they are rarer than you might initially think. 'Boogie Oogie Oogie' is an iconic disco number, played incessantly in the late 70s. It's super too. And I like the Ernie Isley styled phase guitar. 'World Spin' is another interesting track from the debut. But the rest is fairly ordinary stringsy soulsy disco-y. Twice as Sweet is similar with no highlights. I'll take the profit.

Patrice Rushen - Pizzazz. 1979 Elektra promo (LP). Another two dollar pick up from the Rocky Mountain Record Show (Apr). This is three years before her recognized smash accomplishment Straight from the Heart. I wrote about that one already. That album is like finding money laying around. This one is disco versus boogie (I'm not so good at distinguishing them). I'm a sucker for a pretty girl with a nice smile, so I had to hear it. For what it is, I can appreciate the talent displayed. But it's not my style of choice overall. One of these days I hope to find her earlier fusion oriented albums.

The Steve Karmen Big Band - Memories. 1969 United Artists (SP). I own this group's 45 from the year before and it's a killer instrumental funk track. Also goes for big bucks. I pulled this out of a thrift shop in Kansas (Jan / Oct 2023) presuming similar, but nope, it's worth five bucks tops. The SP is the same song, one has vocals, the other is instrumental. The latter is much nicer to my ears. Fairly middle of the road orchestrated pop compared to the more raucous 'Breakaway'. No need to keep this one.

Patti Williams - Satan's Daughter / Wings of Love. 1971 Rocky Ridge promo (SP). This one was from a local antique mall (Jan). Carries some value, so why not try it? Yea, not my kind of soul funk. Gospel styled crooning with strings. OK, well I heard it all the way through. Next.

---collection revisits

Toni Esposito - Rosso Napoletano. 2014 Sony (1974) (CD). Pleasant breezy jazz fusion with funk undertones. Sort of ordinary really. I can get it go. (Apr)

* - Keeping for the collection; x - Not in RYM

2024 Prog Journal Vol. 1 - Complete

*Honduras Libregrupo - La Unica Posicion es la Oposicion. 2008 Azione Artigianale (CD). One of those albums that makes me want to stop writing about music, as it's difficult to capture what they're doing. But what they're doing I like. A mix of prog, psych, Krautrock, experimental, and jazz rock. It sounds unpleasant on paper but the album is an enjoyable listen. I need to explore more from these guys. (May)

*MCH Band - Karnevale. 1999 Black Point (CD). There's just something unique about Czech art rock. It's progressive rock, but not in the typical Yes/Genesis way. King Crimson and VDGG seem to be the bellwethers, but even those are distant references. I've gone on about my personal experiences with the MCH Band, so I'm already biased to their greatness. I struggle to define what this sounds like, but I do enjoy it. (May)

MKII - Burning Daylight. 1994 SI (CD). An unusual release from SI, moving away for their standard neo prog template. This is glossy atmospheric instrumental music with bluesy guitar solos. A fine album, though not distinctive enough to keep. (May)

Golem - Orion Awakes. 1996 Psi-Fi (CD). Promise not to go on about what a fake this is. This is one of the more obvious pieces of evidence that it's not from the 70s and features a pastiche of different sounds from different eras. Whatever - blank the backstory out - and you have a decent retro Krautrock album. It's infuriating they didn't tell the truth. The music continues to suffer because of the lie. I went on about it, didn't I? (May)

*Tempano - Atabal Yemal. 1998 Musea (1979) (CD). Excellent symphonic prog from Venezuela, typical of the late 70's European scene, but still not yet rooted in South America. Instrumentation is a bit primitive as to be expected, but the spirit is alive. The CD adds three tracks newly recorded in 1998, but were intended to be on the debut. These naturally sound better (still primarily analog), and the music is well composed. Even a bit of Univers Zero can be heard, the opposite of their sunny disposition. This is one of those albums where you're better off having the CD than the LP. (Feb)

Holy River Family Band - Earthquake Country. 2001 Wild Places (CD). Following on from Welcome to the Riverhouse, Holy River Family Band continue on their trek down the songwriting path. On Earthquake Country you will here more of a folk-rock sound with more diversified instrumentation. Much in the same way that The Spacious Mind's Sailing the Seagoat was a musical departure for that  band (who share members with the Holy River Family Band). (Jan)

* - Keeping for the collection

2024 Classic rock / AOR Journal Vol. 1 - Complete

ZZ Top - Fandango! 1975 London (LP). I always grab ZZ Top when I see them for cheap, in this case two bucks at the RMRS (Apr). I hadn't heard this one since high school. The hype sticker on my in-shrink copy says "Side 1 Recorded LIVE" Well, hot dog! If that's all there is to hype, it's not going to be much I'm afraid. Side 1 is, in fact, Texas Boogie. Not so great. This is one of those weird albums where the two hits that came from it close the LP. It's the better side, as I also like B1. Still it's not anything I need to own. Fast seller at the next show.

Steely Dan - Can't Buy a Thrill. 1980 MCA (1972) (LP). From a pure economic standpoint, this was my best recent find from the local antique mall (Feb). Finding Steely Dan albums is like finding money on the floor. So at $2, it was a good "market move." But I was sure to keep this, Steely Dan's debut. I don't know what it is about groups like Fleetwood Mac and Steely Dan, but there's something that rubs me the wrong way about them. Can't put my finger on it, but my thoughts on Rumours would go well here. There's this nagging feeling I get - something I recall while working in the San Francisco Bay Area in the late 90s and early 2000s. It goes like this: "We all agree that Steely Dan is one of the greatest 70s rock band ever, right?" Well, wait, uhhh, no not exactly. "So you don't like Steely Dan?". Well sure I do, they're good and all, but... This is followed by a look of disgust and bewilderment. I ruined the narrative. How could I? It's obvious I'm just being obstinate and a contrarian. Leave us be, you neanderthal. But, but, but. Well anyway, I can't seem to escape that feeling while hearing this album. I tried to escape into the "I like Yacht Rock" trope, but failed at that too. There are three iconic tracks on here, including the one song I will defend 'Do It Again'. Electric sitar and analog synthesizer solos do still count for something. The rest is fine, but is it so great really? I think if you graduated high school or college anytime in the 1970s, probably so. Those years for me were the 80s. So I don't get it. I'll make my profit. I can always hear these songs the next time I'm at the grocery store.

Uriah Heep - Head First. 1983 Mercury (LP). Kind of the same idea as Golden Earring, I'm curious what Uriah Heep was up to after 1974. I had owned Fallen Angel prior (1978) and thought it was very mediocre. I hear Head First better than that title, but it's clearly not in my wheelhouse either. Another wasted opportunity, Uriah Heep came from the same hard rock royalty as other early 70s bands, and thus was positioned to capitalize on the burgeoning metal movement. Or they could just pander for FM radio time. They chose that route, and were both artistic and commercial flops. They have a good sound here, but the songwriting is mostly mediocre. If the 2009 Sweden live album is a barometer (which I reported on a couple of years back), it would appear Uriah Heep rebounded nicely. Too late for critical acclaim and financial fortune, but good enough for the oldies hard rock / prog circuit. (Feb)

Uriah Heep - Equator. 1985 Columbia (LP). Got this along with Head First. Holy moly - this is bad! Having spent my high school and college years in the 80s, I tend to be sympathetic towards bands trying to make a career out of music. It was a different era where bands were often financially rewarded for "selling out" to the corporate driven labels consistently chasing hard for profits. Head First is a good example of a legendary underground band making a go for commercialism but falling short of the artistic line of quality. It's certainly listenable. But Equator is at another level. This is pathetic. We're at the desperation stage here (ed: I used a more graphic metaphor, and Google flagged it with a warning - jeez, it wasn't that bad). It's almost as if the band purposely decided to be terrible, thinking it was a winning strategy. No redeemable qualities here whatsoever. One of the worst albums I've heard in the last 10 years. (Feb)

Grand Prix - Samurai. 1983 Chrysalis (LP). I first heard about this album real time from Kerrang, and they described it as a hard rocking Styx. For those who prefer James Young's contributions to the band. 40+ years later, I'm hearing this album for the first time, recalling that sentiment. And I can't agree with it. JY added more grit to his compositions. At its best, there are some proggy moments that point to Saga or even Journey on Frontiers. But this is mostly panning for hits on the radio. I could see some of these making a splash in its era, but alas it was not meant to be. Band is British but they sound American to me. (Feb)

---collection revisits

Enbor – Katebegiak. 1994 Elkar (1980) (CD). Enbor are really more of a rock band than a “prog” band, but they have elements that allow for more explorations than a typical 4/4 rock outfit. The varied instrumentation, once again lead by flute, is what takes this album to the next level. Kind of like the more progressive minded AOR bands in the US during the late 70s, but taking in a good dose of Basque culture, not to mention language.

* - Keeping for the collection; x - Not in RYM

2024 Metal Journal Vol. 1 - Complete

Ferrigno - Leal - Kuprij. 2003 Lion (Finland) (CD). Thrift shop find (May). Super fast and technical instrumental metal fusion. Well done for the style but old hat by this time.

Pessimist - Cult of the Initiated. 2021 Seasons of Mist (1997) (LP). From the RMRS (Apr). Not as heavy as expected, but certainly as annoying. Bark, growl, grunt. Blleeeeeuuuuuuuuuhhhhh. The music rumbles on. Not much in the way of dynamics or metrics. I've always struggled with death metal, and this isn't the title to change my mind. Good score at 5 bucks though.

*Motorhead - Bomber. 1979 Bronze (LP). Blue vinyl. From the collection buy last year (Apr). Pretty much what I said about Overkill, I could say here: Juiced up hard rock, borderline metal; Excellent solos; "Not sure if I'm keeping all these Motorhead's, but maybe the classics will get a longer ticket. Neat cover art as well."

Gargoyle. 1988 New Renaissance (EP). If you're a collector of private pressings, there's no way you'd miss this cover. I was surprised to see something like this at the end of the RMRS show for $5 (Apr). Gargoyle were from Portland (OR) and played a brand of speedy traditional heavy metal. A bit primitive and unsophisticated for this late date. I do like the vocals as he can actually sing, rather than scream or bark. The EP features three tracks that ultimately all ended up on their debut, so that diminishes the value somewhat, though not entirely for specialty collectors. If I ever do find the full album, I'd probably keep it if the music is similar. 

Black Sabbath - Seventh Star. 1986 Warner Bros (LP). From Dr. Boom in a trade (Mar). Generally regarded as one of the worst Sabbath albums, if not the worst, much of that has to do with the time and place. Were I a huge Sabbath fan in 1986, and I had adopted all the new trends in metal, I can imagine that Seventh Star was quite the shock to the system. I definitely enjoyed Sabbath back then, and was deep into NWOBHM and thrash, but I had no expectation from Black Sabbath at that time. I figured they were irrelevant. Many apologists point out it's really a Tony Iommi solo album, so it shouldn't even count as a Sabbath album. So here I am some 38 years later hearing this much maligned album for the first time. OK, yep, definitely not Mob Rules or even Born Again. To me it sounds like Rainbow - a good follow up to Bent Out of Shape. But I can be objective at this point, versus being emotional as a youth. There's a couple of clunkers, A2 being the most notable one that everyone points out. I thought the album overall was very good, but nothing revelatory. I have plenty of 80s hard rock like this, including Rainbow themselves, so I'll take my profit. 

Metal Majesty - This is Not a Drill. 2004 Lion (Finland) (CD). Thrift shop find (Feb). From The Netherlands, Metal Majesty is essentially a solo project with additional drums. Imagine Queen as a light metal band. Usually I take a dim view of all-instruments-played-and-sung-by-one-guy albums, but this isn't so bad really. Objectively it's well done and thought out, but it's not for me.

Iron Mask - Hordes of the Brave. 2005 Lion (Finland) (CD). Thrift shop find (Feb). From Belgium and led by guitarist Dushan Petrossi. He's one of many European guitarists who mastered the instrument and can play faster than what seems possible. And he proves it over... and over... and over. The music is typical Euro Power Metal, with choruses, digital keyboard symphony orchestras, and a neoclassical styling (chromatic scales, man). Like a heavier and faster Blind Guardian. There are a couple of vocalists featured, one has a Bruce Dickinson fixation, the other James LaBrie. Hard to be too critical here, as this is a very professional release with good songwriting. I prefer my metal a bit more messy and unpredictable. I feel like I've heard this album before - many times in fact. 

---online (all Feb)

Chase - Evensong / Evermore Pt. II. 1983 Corduroy Mouse Wax. From the endless well that was the NWOBMH scene, Chase offer a more thoughtful romp with keyboards and thematic changes, straddling the line with both progressive rock and AOR. Chase has ties to Diamond Head and there are similarities to their respective sound.

x Aquilla - Rock the Night / Running Down. 1985 private. No idea where this is from. All potential, no delivery. Starts off great with a wonderful metal riff only to devolve into a boogie track complete with one note pounding piano. Hey - they're going to rock the night! pfft. B) side is better, high energy, but still average for the era. Keyboards are a nice touch. 2.5/3

x Mean Streak - I Don't Wanna Hear It / Reasons Rhyme. 198? Streak Records. Pittsburgh based group who more than likely named their band after the Y&T album of the same name. Musically similar in that radio friendly hard rock, light metal way. Keyboards on the B side were more than a welcome presence. Another mostly unknown 45. No RYM - so 3 stars here.

x Orlando – Future School / Lunacy. 1982 Futurock. From the Detroit area. A) side starts with a good hard rock guitar melody line. Vocals are higher pitched and sound very 80s - bridging the gap with new wave it would appear. Good fast soloing also recalling the decade. B) starts off even faster, some real guitar hero type playing. The music isn't really metal, but it has that attitude and the solos belong to that school. The solo on 'Lunacy' is nuts, something Malmsteen would bring to prominence a year later with Steeler. Very creative and pioneering piece of music. Well worth hearing. 3.5 / 4.5

---collection revisits

*Kyuss - Blues for the Red Sun. 1992 Dali (CD). Arguably the beginning of stoner rock as we know it. Some powerful moments and others that drag, typical of the style. But Kyuss were first, and for that alone, it's worth admiring and keeping. (May)

Behind the Curtain – Till Birth Do Us Part. 1999 Sensory (CD). Despite claims of being “avant garde”, I felt this band from Denmark fit more comfortably in the traditional prog metal areas of Dream Theater and Fates Warning. They have strange sound too, not particularly heavy, but certainly metal. This was to be their only album. (Jan)

* - Keeping for the collection; x- Not in RYM

2024 Fusion / Jazz Journal Vol. 1 - Complete

Atmospheres - Clive Stevens & Friends. 1974 Capitol (LP). Antique mall find (May). Imagine Mahavishnu Orchestra with a sax player. It's the latter that creates a bit of a wedge between me and this album. When in melodic mode, the album displays its talent. But there's a lot of skronk and squeak here that gives me a headache (literally). Borderline keeper, just a bit too much noise. 

*Wayne Shorter - Speak No Evil. 1999 Blue Note (1966) (CD). This and the Dolphy came from a thrift shop find in the Kansas City area (Oct 2023) and just now getting to hear them (May). This is more my kind of jazz. In fact this is exactly the kind of jazz I want to be hearing at a dark lit Italian steakhouse. Highly melodic, rarely out of control. I get some of the same vibe that I do from Miles' Kind of Blue. Strangely I don't own too many albums like this, so I'm keeping this one.

Eric Dolphy - Out to Lunch. 1999 Blue Note (1964) (CD). I really wanted to like this since everyone else seems to. Sometimes I think people feel obligated to like something, then write their justification as to why they agree. I can understand the allure for certain. A talented musician, a tortured soul who wasn't long for this world, releases an album that was radical for today much less the year I was born. Doesn't mean I find it enjoyable. Unfortunately. (May)

Julie London - Nice Girls Don't Stay for Breakfast. 1967 Liberty (LP). The next four albums came from the Rocky Mountain Record show (Apr). I've had a few London albums come through here, but I never exhibited the patience to hear them, anxious to gain my profit. The $2 dealer at the show had a few, including a couple in incredible condition (usually her albums are fairly beat, especially the covers). So I grabbed those two, both new to me. Recently I went on about how much I enjoyed Helen Merrill's debut. London and Merrill were peers with the former being far more commercially successful. This is the well that Diana Krall drank from. As for this album, how about that title? Breathy and sensuous, London gives us 10 perfunctory songs that all pretty much sound the same. For 1967, this album was already out of date, though the culture that surrounded it lasted well into the 1970s. It was the wink-wink oversexual days when most men and women were abstinent against their will. Had this title come out in 1956, it would have been hubba hubba. The beginning years of Playboy and the like. By the free love years of the late 60s, it could only be considered quaint and charming. Ironically wholesome, when that wasn't its intent at all. I can pass on this title, but I'm sure there will be a couple in her canon I'll keep.

Hidehiko Matsumoto - The First by Sleepy. 1977 Toshiba (Japan) (LP). If I see a Japanese jazz album for less than $10, I'm buying it. This one was $5 from the show, so an easy decision. Pretty much a standard 50s / 60s styled jazz combo with Matsumoto playing sax with a little bit of flute. Nothing I need at this stage but a pleasant listen. Matsumoto's nickname, fwiw, was Sleepy. This title did come out in the US, but this is the Japanese original. (Apr)

Julie London - Sophisticated Lady. 1962 Liberty (LP). Another London from the two dollar bin at the RMRS. Perfect follow up to Motorhead. Heavy on the strings, this is music for the hotel lobby at some stuffy Gilded Age 1800s hotel in Manhattan. You can just smell the smoke coming through the restaurant while you fumble for change at the payphone. Call your boss - dialing fast, cutting your finger on the metal: "I just sold 300 boxes of saddle shoes to Miller - how fast can we ship? ... 3 months!!! That's not gonna work". Time for a mixed drink before heading home on the A Train. (Apr)

*Dave Valentin - Land of the Third Eye. 1980 Arista GRP (Japan) (LP). Late in my high school years, I used to go to sleep listening to our local jazz radio from North Texas State University (now known as University of North Texas). They're a very famous school for jazz and classical musicians. Their Lab Band is considered one of the best in the world and they have some sought after albums too. Most of the jazz the station played wasn't really to my taste, though hardly offensive. Good for the purpose of putting me to sleep. Even today, I prefer this music as background in restaurants, but not necessarily for sit down listening. One exception I recall was Dave Valentin. I've always enjoyed flute, and his infusion of Latin culture adds to the spice. Hard to miss this cover. I'm usually buying anything with an obi at $5 (same RMRS table), but this is one I didn't look up its value because I wanted to hear it regardless. I've seen Valentin's albums in the bins before, but this is my first try at hearing one. With a cover of two vixens on the front, I thought it might be a bit disco-y. But that title is certainly intriguing, as are some of the others. The opener 'Sidra's Dream' sold me right away, with a most engaging deep groove. 'Fantasy' is my favorite Earth Wind & Fire song, and I like Valentin's interpretation. I found all the tracks pleasant to very good, save A3 which was more commercial in nature. It is a flute jazz album - and after awhile, it's too much icing on the cake at once. I don't have too many albums like this, and A1 is brilliant, so I'll keep it. (Apr)

---collection revisits

Fred – Live at the Bitter End. 2004 World in Sound (1974) (CD). High energy Mahavishnu inspired instrumental fusion. Violin leads galore with some good guitar thrown in. Decent non-soundboard live recording, though organ is completely flushed out and overall a bit tinny. (Feb)

* - albums I kept for the collection

Scorpions ~ Germany

Savage Amusement (1988) 

To my ears not really any better or worse than its predecessor Love at First Sting. Pop metal with a handful of big riffs trying to capture the radio market. Good for what it is. But not necessary at this stage for me. I had long given up on the Scorpions by this point.

Source: 1988 Harvest Germany (LP)

7/28/24 (review)

Lonesome Crow (1972)

For Tangerine Dream's Electronic Meditation review I wrote: "As noted here many times I became something of a fanatic for Tangerine Dream starting in 1982, and began to track down any album I could. One of the albums that had proven elusive was their debut, Electronic Meditation. Finally I secured a copy at the tail end of 1983. Got home, undid the shrink, and put the LP on the turntable. I most certainly wasn't expecting this. I didn't even know where to turn. I had no reference points for what I was hearing. But I was completely captivated by it. It took me months to even hear it properly, parsed to where I could even understand it. Like trying to master a foreign language in that way. "

Exact same situation here, even the same record store! Replace Tangerine Dream with Scorpions - and go back in time three years earlier. Scorpions debut was an elusive title for me until I got my driver's license in 1980 - and you can read more about that whole scenario in the Electric Sun - Earthquake review (they were purchased together).

Clearly we are talking two entirely different expectations though. With Tangerine Dream I was expecting an electronic album. With the Scorpions, I was expecting hard rock going into metal. I did own Fly to the Rainbow, so there was some idea at least of what I was getting into.

I was careful on the Electronic Meditation review to not say that was my first Krautrock album, which would have otherwise fit the narrative perfectly. Nope - in fact Lonesome Crow was. I would not have known what the term Krautrock meant if you hit me over the head with it. And I did not have any idea that's what Lonesome Crow was either. Not for many years actually. It was, in fact, Electronic Meditation that introduced me to the idea of what the Krautrock music genre meant. It was then that I learned that Lonesome Crow was the first album on the legendary Brain label. And it all came together for me.

I had one likeminded friend in high school who I borrowed this album to. He said to me "I don't about you, but I'm really curious about the other albums on the back cover." Me too! This was the Rock On Brain issue, and per their protocol, they would advertise five other records from the series. Those monikers sure do sound intriguing: Embryo, Birth Control, Jane (is it a lady singer?), Guru Guru, Satin Whale. Of course it would be only a few short years later while in college I begin to find albums by these groups, with Satin Whale coming last (after college) in 1989 (fortunately it was the original Desert Places too).

As for the album Lonesome Crow, as noted in the opening, it really took me some time to get into this album. But I most certainly did enjoy it, just not at the level I eventually would. Today I consider it a masterpiece, a band clearly operating at another level than their peers even at this early stage. It has all the Krautrock elements of psych, jazz, hard rock, and general freakishness. The title track was my favorite upon first listen, and remains that way today. It's really a pity they couldn't keep going in this direction for longer, though Fly to the Rainbow introduced Uli Roth to the band, so at least they maintained a psychedelic disposition for much longer than they needed to (commercially speaking). From an economic perspective, Scorpions did absolutely the right thing and used their talent to rise to the top of the charts. But artistically they were never as good as their debut. Not even close.

Ownership: 

1972 Brain (LP). Gatefold. Green Metronome label. Acquired in 2023.

1980 Brain (LP). Titled: Action. Rock On Brain series. Orange / blue label. Acquired in 1980.

1982 Heavy Metal Worldwide (LP) picture disc. Acquired in 2020.

2005 Brain Japan (CD). Papersleeve gatefold. Includes the Repertoire booklet with liner notes in English. Acquired in 2005.

1989 Rampage (MC). Acquired in 2024.

Might seem obsessive but each of the above have a different and unique purpose and I have no intention of selling any of them.

9//80; 6//05; 11/18/14; 1/9/24 (review)

Blackout (1982)

---10/14/15 

The Scorpions' last stand before completely selling out. You get some empty calories with the title track, 'Now!', and 'Dynamite', which like Big Mac's are great on initial impact, but maybe not so much later. 'Can't Live Without You' has a decent melodic line, and we enter song title hell with 'No One Like You', 'You Give Me All I Need', and 'When the Smoke is Going Down', all about as deep as their namesakes. 'Arizona' is the only true skip over here and a harbinger of things to come. 'China White' is the one composition with heft, and the only decent legacy the album really has. I bought the LP new when it came out, and I was finishing up my junior year in high school - certainly the best of times. This was one of many soundtracks of a great era in life.

---12/3/22

Funny enough, I hear this album better today than the above review implies, but my rating stays the same. You have to hand it to the Scorpions - they were able to make heavy metal mainstream. That is to say, more popular with the general populace than the usual down-market angry white male audience (you know... like me). Def Leppard also accomplished similar. And whereas I recently noted that the Scorpions seemed to miss their chance on Animal Magnetism, they caught themselves here. So the metal tracks pack more wallop and the commercial oriented songs have more hooks. Other than 'China White' it becomes clear that the Scorpions were no longer interested in artistic legacy, but rather cashing in at the local bank. Can you blame them? They were in the right-time, right-place. They were to take this philosophy even further on their next opus Love at First Sting. An album I bought real time but never really liked. I'm sure I'll find one eventually and we'll see if that remains true or not. And then the Scorpions were no longer relevant after that - desperately trying to make hits when no one was interested in an old grizzled German band (or so it seemed to the new incoming youth). Today, the Scorpions don't have the same historical admiration that bands like Judas Priest and Iron Maiden enjoy.  And any new product is met with skepticism, fair or not. That's the price you pay when you make a deal with the corporate devil.

Ownership: 

1982 Mercury (LP). Lyric inner bag. First acquired in 1982. Latest acquisition: 2026 (hype sticker)

Mercury (CD). 90s press. Acquired in 2005.

1982; 6//05; 10/14/15; 12/3/22 (review)

Lovedrive (1979)

Picking up the story where I left off with the bookends to Lovedrive: Tokyo Tapes and Animal Magnetism. As stated there, Lovedrive was my introduction to the band. Now that they got Uli Roth out of the way, it was time to focus on adding some muscle, and to be a pioneer in the upcoming heavy metal movement. But they're still not all in, and so this could also be looked at as a transitional album, though the psychedelic aspects are now long in the rearview mirror. And Brother Michael Schenker is on board to assist with a three guitar attack, mostly on the heaviest numbers. The album opens somewhere in the middle of their heavy sound at the time with 'Loving You Sunday Morning'. 'Another Piece of Meat' is really where they threw the gauntlet down that they are to be taken seriously as a metal band. 'Always Somewhere' introduces us to what would ultimately make the Scorpions rich: the power ballad. Though, in this case, it's an obscure song in their canon. 'Coast to Coast' is a killer instrumental that best utilizes the three guitars on hand. 'Can't Get Enough' is another true metal piece. And I certainly had to agree with the title at the time - I wanted more metal like this! The title track is the other heavy song here with its galloping rhythm. That leaves the two oddball tunes. 'Is There Anybody There?' is like a weird metal reggae mutant, and quite unique I must say. 'Holiday' is almost, dare I say, proggy. There's something the (modern era) Scorpions won't ever be accused of. It's sort of an acoustic moody folk number before it breaks into a cool metal riff with a haunting chorus and closes with mourning distant electric guitars. One-of-a-kind in their catalog that's for sure, and one of my all-time favorite Scorps tracks.

I purchased my first copy upon release in 1979 at a department store - Best if I recall right (not Best Buy, different store). It was - of course - the censored cover with the scorpion on the cover (long sold off). There was no chance the original cover would have passed the censors in those days. Especially in Texas. So it comes as a big surprise to learn that there are indeed original US pressings with the cover as shown here (fairly scarce). Europe, of course, had no such issues with bare female breasts. In a way, though, I'm glad they censored it. Because I was only 14 when this came out, which means I relied on my Mom (usually) to get me to a store that would have records (not a record store either). And there's no way I would have been able to purchase this. Blue Oyster Cult were hard enough to get past the parental censors lol. In any case, the original cover is pretty stupid, like most of their covers save Fly to the Rainbow and the Japanese releases of Taken By Force and Tokyo Tapes. But I wouldn't want it any other way. I mean - it's the Scorpions!

Ownership: 

1983 Fame (LP). Acquired in 2021.

1979 Mercury (LP). Sealed with all red shrink to hide the racy cover. Acquired in 2025. Never see this.

First copy: 1979 Mercury (LP). With the censored cover. Acquired in 1979.

1979; 12/18/12; 10/20/20; 1/1/22 (reviewed)

Tokyo Tapes (1978)

Tokyo Tapes represents the swan song for Uli Roth as a member of the Scorpions. He was always a square peg in a proverbial round hole anyway, but for my tastes, he was the most creative member of the band. He was also the final link to their psychedelic past. Not surprisingly, the majority of the material comes from their RCA years, most notably Taken By Force, Virgin Killer, and In Trance, with a nod to Fly to the Rainbow and one track from Lonesome Crow (the least representative unfortunately). The album opens with the unreleased 'All Night Long' which is in the now-patented straightforward hard rock sound that Klaus Meine and Rudolf Schenker had adopted by then. Then a couple of Virgin Killer run-throughs gets us to one of the highlights of Tokyo Tapes: 'Polar Nights'. As I've said many times before, live albums are pretty useless if you play the studio versions verbatim. This is the one place that Roth gets in some improvisation - especially the opening. One wishes for it to go another ten more minutes, it's so awesome. And he really lets loose on the solos later on in the piece. The other Roth great moment is the stinging intro (see what I did there...) to 'Dark Lady'. Other highlights includes the psychedelic oriented 'Fly to the Rainbow' and 'We'll Burn the Sky", the B-sider 'Suspender Love', and the hard rocking 'Speedy's Coming'. All one can do is imagine how awesome this live set would have been if it included other Roth penned tunes like 'Drifting Sun', 'Hell Cat', and 'Sails of Charon', with the latter omission being almost criminal since it was on the preceding Taken By Force.  Honestly though, take Roth out of the mix, and this album becomes unnecessary. For their part, the Scorpions were ready for the next chapter, when they hired on guitarist Matthias Jabs to replace Roth, changed labels to Mercury, and muscled up for the oncoming heavy metal onslaught. Uli Roth went on to form the also excellent Electric Sun.

Ownership: 1978 RCA Japan (2xLP). Gatefold. Acquired in 2021.

First copy: 1978 RCA (2xLP). Acquired in 1980.

1980; 6//05; 11/5/11; 12/26/21 (review)

Animal Magnetism (1980)

I bought this album when it first came out. I was already an established Scorpions fan, having seen them live, and was most excited about their new album. It didn't disappoint. Nor did it enthrall. I wanted more from the Scorpions by this point (1980). Now I appreciate more the music on hand. 

In retrospect, the Scorps really missed an opportunity here from an underground perspective. They were adored by hardcore metal fans, even though they really weren't such a beast. If they were going to lay down the gauntlet, Animal Magnetism should have been that album. Established band with street cred, and a heavy sound, this was their time. But instead they had other ambitions, which did pay off for them in the end. But with a different crowd. You're not going to get too far into a discussion about 80s power ballads without mention of the Scorpions. But Animal Magnetism doesn't really have power ballads either. Their one attempt 'Lady Starlight' doesn't suck, so you know they hadn't mastered it yet lol. Mostly this is dog and butterfly, with an emphasis on the dog. And that's why the album works. And the final two tracks give the album its quality reputation in the underground. Or I should say, allowed them to keep their reputation. 'The Zoo' and the title track are heavy dirges that just pulverize the listener. It was the opposite of the fast pace I was looking for at the time, but both have proven to transcend time, and provides a fascinating 11 minute close to an otherwise normal metal album. And besides, 'The Zoo' has the most talk box outside of Frampton Comes Alive. 

Ownership: 

1985 Mercury (LP). Reacquired in 2021. First acquired in 1980.

Mercury (CD). 90s press. Acquired in 2005.

1980; 2005; 11/20/15; 8/4/21 (review)

World Wide Live (1985)

Post Uli Roth / Tokyo Tapes live album, where each track was culled from Lovedrive or later. Basically this album comprises of the studio versions plus much crowd noise. And lots of "ebebybody habing a goode tiimm-eh?" "YEAAAA - Weeeee" chants the crowd. Proving we were all pretty much dumb in 1985. Sure, I went to concerts then too, and went "YEAAAA - Weeeee". All the same, one does wonder what the point of such an album like this is? The performances are quite spirited, though the improvisations (scant as they may be) are pretty much worthless ('Dynamite' ending and 'Six String Sting', par example). Oh, and they butchered 'Holiday', one of the great tracks from Lovedrive.

11/07/15 (review)

Source: 1985 Mercury (2xLP). Gatefold

Also own and need to review: Fly to the Rainbow; In Trance; Virgin Killer; Taken By Force

11/07/15 (new entry)

Emerge ~ USA ~ Oakland, California

Now! (2006)

Emerge's debut CD is exactly the type of album I look for while haunting the thrift shops. It was over two years ago when I found this with some other intriguing jazz rock / fusion CDs. Some I kept, others I sold. But this one had no provenance so I stuck it in a pile of unknowns that I planned to review. I do this a lot - have projects ready to go - and yet never actually get around to doing them. Finally I'm plowing through a large pile of CDs just sitting here from buys going as far back as 2016.

Oakland's Emerge is unknown - but not really. This is one of the most hidden-in-plain-sight albums that I've run into in a long time. It's not in Discogs, nor RYM. But the label website is still going strong, some 18 years after this release. As well as a Facebook page that is active. Supposedly the label "reissued" this album in 2015. Hard to imagine there was that much demand in the first place. Where are all the existing original copies?

I could tell the tale above for many albums I find, but the music doesn't warrant the prelude. Now! obviously does. On the surface Emerge are nothing more than your garden variety guitar fronted jazz rock trio with competent lightly amplified six strings and funky rhythms. All well and good, but not enough to find room in my collection. That space is long occupied. You have to bring something else to get my attention.

And that's where this review has been going. The tone that Peter Jong Chang obtains here is absolutely delicious. We're talking heavy fuzz tone right out of the 1971 cookbook. He doesn't wail everywhere, but when he plugs in and gets the effects going - look out! A very unusual sound for the middle 2000's. This isn't the overamplified stoner sound of modern metal, no no, this is something from the 70s analog past. On most tracks, Chang savors the moment and unleashes his fury in the middle or end of the song. But if you want a stiff drink up front, go for 'Pipeline' which will get your attention quickly.

Ownership: 2006 Station of Dreams (CD)

7/18/24 (review / new entry)

P.L.J. Band ~ Greece

Armageddon (1982)

For the Tin Pan Alley review I wrote: "Context matters. Especially in those crucial years from the late 60s to the middle 80s... ...We have to remember that the 80s were considered anathema to the collectors of the day. If it wasn't from the 60s or 70s, then it wasn't very desirable. Might seem a silly notion now that it's been 33 years since we left that decade, but in the 90s it was still very fresh on the minds of the true believers."

With that in mind, I can remember very well the discussion around P.L.J. Band's Armageddon. Dealers went to great lengths to explain the album didn't sound anything like an 80's album. Mostly to keep the dollar value high. However, in this case, they were absolutely right. Armageddon is completely out of time. Sounding every bit like a 1974 album, the music is both doomy and psychedelic with a folk undertone. The lyric content and theme also draws heavily from one of Greece's most popular albums: Aphrodite's Child - 666. An obsession with the end of times it would seem. The music here reflects that, and is more focused than Vangelis' group. The two narration tracks are particularly chilling. Seen a lot of naysayers over the years regarding this album, mostly coming from the traditional progressive rock camp. They decry its simplicity and song structure. One should view Armageddon in the same way you would hear a Krautrock album - it's about the atmosphere and stark reactionism to the status quo.

Context matters.

Ownership: 1982 Vertigo (LP). Gatefold; 1994 Vertigo (CD)

1992 (acquired); 2/5/95; 1/22/23; 7/15/24 (review / new entry)

Missus Beastly ~ Germany

Minden 1976 (2023)

You would be hard pressed to find a more ardent fan of Missus Beastly than myself. Especially their jazz rock era starting in 1974 and concluding in the early 80s with Dr. Aftershave. This would include their festival recordings as well. However when it comes to archival releases, their two prior could only be considered disappointments. The SWF Session is largely a live radio alternate take of their 1974 self-titled album and is debatable that it should have been released in the first place. The Bremen 1974 performance with Dzyan guitarist Eddy Marron sounded like a home run on paper, yet it was mostly a free jazz exercise, noisy and tuneless.

With that backdrop I reluctantly plucked down for Minden 1976 with obvious trepidation. And the good news is I was rewarded with a unique recording that sounds like an improvised 75 minute concert based on familiar Missus Beastly themes. Garden of Delights went to great lengths to point this out, seemingly addressing my concerns personally, and they were right to do so. The sound is fantastic, and they point out it wasn't from the soundboard but rather two professional microphone recordings mixed together. They stated they didn't want the soundboard (which I guess exists too) because it would have been a different mix than intended. Never thought about that before. So the feeling you get is that you're actually there listening to a concert played 48 years ago. The instrumental music is very good with some long solo opportunities, to be expected on a lengthy concert. Perhaps best of all is Norbert Domling's use of the Framus Triumph bass. Essentially it was an electric upright bass, but much thinner and lighter more ideal for travel. Has a cool sound, and one wonders why it wasn't more popular in its day. Though I'm sure it wasn't cheap. Keyboards, flute, sax, and drums round out the sound. Guitar wasn't part of their usual lineup during this era.

Ownership: CD: 2023 Garden of Delights. Jewel case. Full historical liners and photos.

7/15/24 (review)

Dr. Aftershave - In the Diving Bell (1980 / 2017)

In The Diving Bell is essentially Missus Beastly's final album. Dr. Aftershave was a moniker they'd used in the past, as the album known as Dr. Aftershave and the Mixed Pickles was actually the name of the band and For Missus Beastly the title. But of course no one sees it that way, it was just a legal matter.

Musically it's easy to consider In the Diving Bell as a continuation of where the band was at with Space Guerrilla. They're only a trio here, so the music is not quite as diverse as before. Especially notable is the absence of woodwinds. Mostly it's Burkard Schmidl's keyboards that lead the way, with a superb rhythm section driving the music forward. He plays a mixture of piano, period synths, and analog electric keyboards. At the beginning of the album I wasn't convinced the band had much left in the creativity tank, sounding like any number of 1980 fusion bands out there. But once the lengthy 'Resurrection Agents' gets going, the magic of Missus Beastly steps up with it, and the perception changes. The album was intended to be released real time, so the sound quality is that of a final product. Overall a very fine effort straddling the border of very good to excellent. Knowing how Missus Beastly has grown on me in the past, I figure this album will also grow in stature with time.

Ownership: 2017 Garden of Delights (CD). Historical liner notes, excellent sound, and plenty of photos.

9/21/22 (review)

Space Guerilla (1978)

Missus Beastly's final album sees the legendary band going out in style. The constant line-up changes had taken their toll on the group, and though they continued on with different line-ups as late as 1982, the band finally collapsed with the advent of punk and heavy metal.

Flute and Clavinet are but two instruments that define this mature work by these veterans of Germany's jazz rock circuit. A mixture of high energy fusion and spaced out cosmic jazz with long flights of organ jamming define the lengthy title track, arguably the album's finest moment. Some beautiful piano can be found on 'Guitar for Sale'. 'Rahsaan Roland Kirk' is a 3 minute echoed flute solo, which is quite cool. 'Fuzzy, Don't Go to the Disco' brings in the expected funk bits, typical of the era, but features some fine shredding violin. 'Hoffmannstropfen' seems to be headed in a similar direction, before taking a distinct turn towards their classic 1974 Nova album, which is always a welcome sound. 'For Flü' demonstrates Missus Beastly at their most technical and progressive, with some superb flute and piano playing. 'King Garlic' continues with the piano driven sound, this time in a highly melodic composition, and a great way to close the album. For my tastes, Space Guerilla is second only to the monstrous 1974 self-titled album in their discography. I do hope a tape surfaces of one of their mid to late 70s performances. For example, 'Porta Erotica' that has been added as a bonus track to the Garden of Delights CD, from one of the famous Umsonst und Draussen festivals that we covered years ago.

Ownership: 1978 Schneeball (LP). Gatefold; 2015 Garden of Delights (CD). Two bonus tracks and liner notes.

2000 (acquired); 7/10/16 (review)

Dr. Aftershave and the Mixed Pickles (1976)

Dr. Aftershave and The Mixed-Pickles sees Missus Beastly moving onto the more-in-fashion funky sounds of the era, while still building on the jazz rock of the 1974 album. Anyone who is familiar with Embryo's Bad Heads and Bad Cats will immediately recognize the sounds here (and they share many members between the groups). Worth noting this is the first album on the April label, later renamed Schneeball for legal reasons.

Ownership: 1976 April (LP) FOC; 2011 Garden of Delights (CD). Two bonus tracks, history, and photos.

2002 (acquired); 2010; 11/17/11; 3/18/13 (review)

Missus Beastly (1974)

The evolution to a Masterpiece status is a strange phenomenon. Like many albums at first glance, Missus Beastly's second album struck me simply as better than average. As the years went by, something about the album kept drawing me to it. Not all masterpiece albums take this long of course, but this is one of those albums that gets into your skin and just won't let go. It's now to the point where the measuring stick for all things jazz rock must go up against it. Cosmic Dreams At Play says of this album "uninspired slick fusion", which could not be further from the truth. The rhythm section here is amazing, jet propelled, sporadic, and energetic. The piano playing is divine, frequently compared to McCoy Tyner's best work. The dual sax/flute combination drives the melody and solo lines and they're always in control. And the tunes are memorable long after the music has stopped as perhaps best exemplified by '20th Century Break'. A brilliant album.

The CD adds four bonus tracks that demonstrate a much rawer and looser Missus Beastly, but still very engaging.

Personally I find the LP cover absolutely hideous, and downright offensive. According to the CD liner notes, the band had no artistic control of this situation, and it appears to be the poor judgment of the label themselves. The cover doesn't represent the style of music at all.  

Ownership: 1974 Nova (LP); 2005 Garden of Delights (CD). Bonus tracks and liner notes.

1996 (first acquired); 3/16/13 (review)

SWF Session 1974 (2012)

Hmm! So we have an interesting one here. The question is: Are you willing to buy an alternate version of the 1974 Missus Beastly album? If the answer is yes, then definitely get this. If not, read on. I'm disappointed in Long Hair for not mentioning the similarities between the two. And the lackluster liner notes make no explanation as to why some of the tracks have different names than on their vinyl counterpart. It's worth noting that these recordings (two different sessions) were recorded near the dates of the studio release, so the similarities with the actual album are certainly understandable from the band's perspective.

The album begins with 'Fly Away', which is track 6 on the Nova album. It's a great example of why the original album is so brilliant in my eyes (the album itself is a 5 star masterpiece as far as I'm concerned - see above).

But now the problems start. The second track would appear to be unique, if titles are what we go on here: 'Simsalabim'. But the melody is instantly recognizable and, sure enough, it's the 'Paranoidl' track from the LP.

Now things really get weird. Track 3 is 'Talle', which turns out to be '20th Century Break' on the original, and happens to be one of my favorite tracks of all-time. No mention, as I stated earlier, as to why the difference in track titles. To make matters worse, 'Talle' from the LP is the ONLY track not on the SWF Session. Good grief - what a mess.

'Free Clinic' is a unique track, though there is a longer improvised live version on the GoD reissue (as a bonus track).

'Geisha' is a pretty faithful representative of the LP version. 'Space in the Place' is the first truly new piece (I think) represented here. But at just two minutes, there's not much to grab onto.

'Song For Ann' is a beautiful Dieter Miekautsch piano piece - except it too was released on the (get ready) Missing Link album from 1972 (Missing Link... Missus Beastly. Ay-yi-yi. Keeping up with me here?). It's slightly different than the LP version, but not by much.

'Dauerwurst', like 'Simsalabim', is not new. It's a renamed version of 'Vacuum Cleaner Dance' from the Nova LP. It's driving me nuts why none of this has been mentioned before!

'Julia' is a lively rendition of the Nova album opener. Different enough to be exciting, and perhaps what this SWF could have been about. But no.

And we get to the last two tracks - which are finally unique. 'Serenade to a Soul Sister' is no doubt an embryonic version of 'Vloflutho' which shows up as a bonus track on GoD's CD of the '74 album.

Former ownership: 2012 Long Hair (CD)

3/17/13 (review)

Missus Beastly (1970)

Missus Beastly's debut is squarely in the psychedelic blues rock camp, and is significantly different than their later (and brilliant IMO) jazz rock albums. Highlights here are the gloomy organ, Mississippi Delta blues guitar, and downer vocals. Definitely strives for a down and out American alley sound. And succeeds for the most part.

Missus Beastly's debut album is one of the earliest examples of a studio album being pirated and resold (Nara Asst Incense version). While this has sadly become common practice in the CD era, it was very rare in the early 70s when the industry was more tightly controlled. 

Ownership: 2012 Garden of Delights (LP). Gatefold. Liner notes.

3/9/13 (review)

3/9/13 (new entry)

Saqqara Dogs ~ USA ~ New York

Thirst (1987)

Thirst is one of those albums you would discover through Option magazine where they couldn't figure what the hell it was and they'd compare it to a band it had nothing in common with. But this listen pointed me to the possible source: David Torn. Cloud About Mercury was one of those revelations for anyone that scanned every single record in the 1980s mall record store hoping for just one new album that looked interesting. Saqqara Dogs takes Torn's loud guitar ethic and throws a little Middle Eastern mysticism into the mix. And you're not too far from Black Sun Ensemble either - another Option treasure find. In the end, Saqqara Dogs belongs to neo psych, though maybe not obvious at first. This has aged beautifully.

Ownership: 1987 Pathfinder (CD)

1988 (first acquired); 2/10/07 (review); 7/11/24 (new entry / update)

Dhope ~ Germany

Musical Exhibitions (1978)

---9/16/13

Musically, this one takes a bit to get going. The opening track, while a finely crafted piece, is somewhat straightforward, but with some fine Moog, and features that unique lower register German voice singing English. Perhaps not quite as dour as Paternoster (what is?), but that's too far off. Later on he sings in a higher register, which I found a bit more appealing. Now I'll be honest here, this album didn't floor me on the whole. Or maybe I should say it didn't really match the reviews I've read. There's no mellotron (as confirmed by a band member), and the time changes are more like theme shifts rather than metric gymnastics embedded within each measure. The compositions sort of bounce along harmlessly, with plenty of fat bass and 4/4 drumming, sometimes in a pseudo disco beat. There's some fine, though not exceptional, guitar soloing, and most of the keyboards are organ and Moog. And all of the above is fine for me honestly, as the music definitely fits the time and place. But... you will not be thinking this is the German album from 1973 Italy as perhaps the Tonic album does in places. However, if you like the late 70s German symphonic sound, and get a bit tired of all the Kraut Fusion from this era. 

Comparisons? Perhaps an amalgamation of all 3 Indigo albums, Fly, Novalis, Gloria's Children, Minotaurus, Shaa Khan, Anyone's Daughter, Waniyetula (Galaxy), and others of its ilk. Or a male vocal equivalent to Werwolf, Rebekka, and Eden. 

---7/11/24

OK. That was a pretty thorough examination with lots of name dropping. As I heard the album twice last night for the first time since I penned those notes (+1 rating), the sound of the late 70s German progressive rock most certainly rose to the top. In North America, or even England, this would have been a proggy AOR album. But in Germany the commercial aspirations aren't as apparent. Perhaps even a bit incompetent in their attempt, which makes the music all that much more alluring. It's just this amateur status that allows the music to breathe and be more true to the artist. I also really appreciate Dhope's melodic style, a sound that with the right producer and publicist, could have broken the group to a larger audience. A common tale.

From the liner notes of the CD we learn the name of the band was originally called Deutsche Hoffnung which means "German Hope". They later abbreviated that to D. Hope and stylized to Dhope. So not a drug nor a "what a dope" reference. Though today, dope is a positive word ("It's Dope!"), so they were ahead of their time inadvertently.

The date of the original release still remains a mystery, that GoD tried to clear up, but left doubt with the following phrase: "In truth, the LP was recorded and released at the end of 1978, as far as the band members can remember". Not exactly hard data. That's the Freeman's style of choice too - hearsay evidence. Band memories have proven to be unreliable since the beginning of time.

On the CDRWL, a reliable contributor from Germany commented (in 2013): "Could find some info from the bands bass player and one of the guitarists. Band was formed by students of the Paderborn University after lose sessions in 78/79. The album was recorded in 5 days in 1980 and 500 LP where pressed."

Forgiving the grammar, we already display an internecine discrepancy that wasn't cleared up by the liner notes. I'll leave 1978 for my own records, but it's subject to change.

Ownership: 2021 Garden of Delights (CD). Historical liner notes and multiple photos. After the history section, the liner notes are becoming too contemporary, with references to Discogs, RYM, and other media sites. Those statistics won't be relevant in the future. They're barely relevant now...

9/16/13 (review); 7/10/24 (new entry / update)

Gabrielle Roth and The Mirrors ~ USA ~ New Jersey

Dancing Toward the One / Sacred Rock (1982)

Dancing Toward the One is exactly the kind of tape I seek in the wilds. There was a lot of very interesting music released in the world during the 1980s that never saw a vinyl pressing, nor a CD later in the decade. Both were too expensive to produce whereas the lonely tape was much cheaper to get out to the masses.

Based on what I've read, Roth was a key mover and shaker in the health and body dance movement, something she invented to overcome a skiing accident. This kind of thinking was coming to prominence in the 80s. There are many tapes in the new age genre, the key is finding the ones that are musically interesting. It appears to me that most of Roth's output is electronic / trance dance oriented, and that started with her creating the Raven label (I'm sure Discogs has the wrong appellation for the label here). I did buy one of her other later tapes so we'll see how it compares.

In any case Dancing Toward the One / Sacred Rock represents her debut, and I would submit this is one of those "accidental" cool albums we often find here in America. Her sound hasn't been shaped yet, and there are at least 15 musicians on the album. It's more tribal than dance, and best of all for us, it can get very psychedelic! The overall sound isn't that far removed from what was happening in England during time with the UK festival psych scene. I really don't think that was her intent, and yet the end result is very satisfying, and comes from a completely different perspective.

There are only two side long tracks here and neither are named 'Dancing Toward the One' or 'Sacred Rock'. Rather side one is 'Sing the Body' described as thus by Roth: "Is the first power chant I received from the spirit..." Wellll....good. I almost put the tape back after reading that. I thought to myself "here we go...". But I also thought "it's only 69 cents..." lol. The second side longer is titled 'Can You See Me' and this has the following description: "Was created in a healing circle as a dance meditation to be done in pairs." Nothing beats a healing circle... as long as it has loud psych guitars! Honestly the trance like rhythms aren't that far removed from what Can had created only a decade earlier. And while the vocals are not near as psychotic as Damo, they aren't too bad on the whole.

The world is an interesting place. Worth grabbing this one.

Ownership: 1982 The Moving Center (MC). 

7/6/24 (review / new entry)