Phil Moore III and the Afro Latin Soultet ~ USA ~ California

Afro Brazil Oba! (1967)

Somewhere at the crossroads of Burt Bacharach and Sergio Mendes you will find the sound of Phil Moore III and the Afro Latin Soultet. From the former you get the beautiful songwriting, deceptively simple yet complex all the same. The album tells us they're introducing Leni Groves (who was 19 if going by the liner notes). They might as well be saying "introducing Dionne Warwick". Once you hear her voice you'll know what I mean. From the latter you get the unmistakable soothing sounds of Bossa Nova. But instead of piano, Moore brings in this creaky organ that he probably picked up at a church salvage sale. The mix is irresistible. 

Ownership: 1967 Tower (LP)

Typically I would place albums like this in the journal section. But there are no reissues as I create this entry. It's worth calling out for that. Albums like this typically find their way onto CD in Japan, where music like this is highly revered. It appears the album remains largely undiscovered.

10/12/24 (review / new entry)

Kaamos ~ Finland

Deeds and Talks (1977)

Deeds and Talks is an album that's been in my scope for many years, but it's not anything that ever resonated with me. Despite glowing reviews, on first impact the album fell flat to my ears. Now some 30 years have passed, and I've reacquired the LP. Let's try it one more time.

OK, yea, this is the kind of sound I embrace more now than then. It's a song based album with plenty of progressive rock interludes. My reaction back then would have been too much song and not enough prog. Though I could always go for more of the latter, I'm appreciating the former more. I had similar reactions to fellow countrymen Tasavallan Presidentti and Wigwam when I first heard them. Today I like them all. One can hear Jethro Tull, Procol Harum, Stevie Wonder, and The Beatles mixed in with the usual suspects of Genesis and ELP. English is the language of choice though one can hear parallels to the Swedish Kaipa as well. Fine 1977 styled analog instrumentation makes the music easy on the ears. Not everything here is aces, but overall the album passes the "line to gain" by a yard or so. 

Ownership: 1977 M&T (LP)

1994 (first listen); 2010; 10/8/24 (review / new entry)

Surprise ~ USA ~ St. Louis, Missouri

Assault on Merryland (1977)

---2/21/07

In the game that was the US Midwest underground progressive rock scene of the 1970s, Starcastle emerged as the winner (commercially speaking and not counting Styx, Kansas, etc... Keyword: Underground). There were plenty of other worthy competitors for the title (Ethos, Albatross, Pentwater, This Oneness, etc...)**. Surprise, from St. Louis, were one of the better ones to have participated. The genre itself can be defined as a mix of complex rock with a clear understanding of radio friendly chart music, as FM radio ruled the thoughts of the day. There's a common DNA amongst all these groups, and can be instantly recognized if your ears are tuned to it. Four piece group where everyone plays a multitude of instruments to add plenty of variety.

---

** Almost five years from writing this review, I put together this listing for RYM. I credit this album for helping me form the idea.

---10/8/24

So here we are on my first revisit since that review. Not surprised, so to speak, to know I'm enjoying it more now than ever. Some of these bands in the Midwest really went "for the gusto" as the beer ad would suggest. There's much complexity buried in the mix, and yet you can tell they were trying to bring in some commercially acceptable music while at it. It was hopeless. The instrumentation is 1977 analog heaven.

In reading recent chatboard activity, this album has a poor rep. That's too bad. Sometimes I do feel there's some self-loathing over the prospect of enjoying albums like this. Of course it's not cool, and never will be. I have no such qualms. There was a small period of time when something like this could get recorded and released. Same with the where/place. 1977 St. Louis is the intersection of that phenomena.

Ownership: 1977 Carousel (LP). Sports the kind of cover you would never miss if crate digging. If only such a occurrence would happen.

2/20/07 (review); 10/8/24 (update / new entry)

M.I.A. (Músicos Independientes Asociados) ~ Argentina

Magicos Juegos del Tiempo (1977)

M.I.A.'s second album is quite a departure from the albums it's sandwiched between. The debut is a progressive classical romp in the ELP tradition. And Cornonstipicum is one of the all-time great progressive rock albums, perhaps the best ever from Argentina. But Magicos Juegos del Tiempo is much different - a progressive folk album for the most part with a few diversions into the world of prog and even a bit of loose psych jamming. There's nothing to call out as extraordinary but it's a pleasant listen throughout. But they left no indication where they were to go next.

Ownership: 1977 Ciclo 3 (LP). Single sleeve with booklet attached to the front. As you see in the Discogs photo attached. if done properly, there are two pieces of specially designed tape to slip the booklet in and out. Fortunately my copy was assembled correctly. 

6//93 (first acquired); 2/12/12; 10/7/24 (review)

Transparencias (1976)

Classically trained pianist Lito Vitale leads the Músicos Independientes Asociados bunch through one of Argentina's first true symphonic rock albums, when everyone else in the country were still mired in the blues. He mixes complex progressive rock with classical interpretations to create his own brain salad surgery. So yes, of course, Keith Emerson rises to the front of the influence line, as he had for many a budding keyboardist in the rock world. Side 2 brings forth a bit more jamming and hard rock to the mix, and probably could have been tightened a bit. So the album certainly has its flaws - it's painful to sit through Pomp and Circumstance at graduations much less for my own enjoyment. But let's give the kid a break, eh? I mean, he was 15 years old when he showed up on the world stage. What were you doing when you were 15? I most certainly wasn't putting out fully realized progressive rock albums with sick piano chops, that's for sure. It usually took me a few minutes just to take the shrink wrap off the LP. Still does actually...

Anyway, MIA were to improve from here, and then lay down one of the all time greats in Cornonstipicum two short years later. When he was an old man at 17.

Ownership: 1994 Belle Antique (CD)

1992 (first acquired); 1995; 4/17/10; 12/24/16 (review)

I still need to review my copy of Cornonstipicum.

12/24/16 (new entry)

2024 Prog Journal Vol. 2 - Complete

*Aunt Mary - Janus. 1990 Vertigo (CD) (1973). Collection revisit (Oct). Janus represents a smorgasbord of popular early 70s music, especially of the progressive rock persuasion. 'For All Eternity' sounds like Yes; 'Candles of Heaven;' is their ELP contribution; 'Stumblin' Stone' has a War slant; 'Mr. Kaye' is their Beatles rendition; 'Nocturnal Voice' could have been on the Junipher Greene album; and finally 'What a Lovely Day' sounds like any number of early 70s obscure UK prog bands. It was the right sound at the right time.

Aufklarung - De La Tempesta… L'Oscuro Piacere. 1995 Pickup (CD). Collection revisit (Sep). Yet another obscure 90s prog CD languishing in the collection that hasn't been touched in over 20 years. Much praise was heaped onto Aufklarung's debut on release, as it offered more than the usual Marillion styled neo prog / arena rock coming from Italy. Their sole album possesses quality songwriting and challenging segments, but does suffer from a typical 90s production. Singing in English takes away from the "Italian" edge, and some of the music falls flat. As you'll see repeatedly below, it was "good for its time" but hasn't aged as well as some of the albums I've recently featured in UMR from this same era.

Kraken in the Maelstrom - Embryogenesis. 1993 Mellow (CD). Collection revisit (Sep). One of the oddest releases in my collection. Not strange in an overt manner, more in the way it all comes together. Embryogenesis is a good example of a band with great ideas, but their musicianship hadn't caught up yet with their imagination. The guitarist has an excellent sound, one that would feel comfortable in a post-Hendrix funk band circa 1971. The keyboards sound like something you could buy from a discount retailer inside of an old suburban mall in 1985. The music is all over the place without rhyme or reason. Melodies are non-existent, vocals are in iffy out-of-tune English, and they throw in some atonal sax just to ensure you're irritated. The master tape cuts off unexpectedly in places. Honestly, what were they doing? I dunno - I bought this album not long after release and kept it for the quirkiness, which I usually reward. But maybe this one is a bridge too far. I don't think they're incompetent, perhaps it came out of the oven too soon? Going to have move on from this title.

Il Castello di Atlante - Sono io il Signore delle Terre a Nord. 1993 Vinyl Magic (CD). Collection revisit (Sep). Solid debut from Italian prog group arriving at a time when we were still starving for new acts in a much missed style. There were a few, many singing in English and trying their hand at Marillion styled neo prog. Il Castello di Atlante were from the old school. However their sound was very much of the early 90s. Many new exciting bands would arrive from Italy only a year later, pushing this album to the margins. I kept it all these years as there's some fine tracks and the violin is splendid at times. But today it finds itself at the bottom of the rankings and this listen didn't push it back up. Time to let go. 

Los Jaivas - Alturas de Machu Pichu. 1989 CBS (USA) (CD) (1981). Collection revisit (Sep). Another one of those albums lingering in my collection for 30 years based on reputation rather than my actual enjoyment of it. I love the freak folk debut and the wild prog / Krautrock-genre of their 3rd effort. But this one plays it too safe. It does have plenty of prog rock moments - mixed in with traditional Andean music. Too watered down for me to consider this their best album, and to take it further, not really collection worthy for me anymore.

Yes - Union. 1991 Arista (CD). Estate sale find for a buck (Aug). Like every dedicated prog fan, I heard Union not long after release. Like every dedicated prog fan, I hated it lol. Scoffed and mocked it in fact. Because that's what you were supposed to do. Shows you that Yes were more religion than music by that point. I long zeroed out my grade on it, having no recollection whatsoever of its contents, other than it supposedly sucked. But is it so bad really? No, of course not. It's the 80s Yes, Asia, ABWH contemporary sound. Union is a long album that involves clock watching, and nothing too catchy to maintain much interest. It has the Yes trademarks but with a coat of super gloss and none of the magic. Not sure how that would be possible given this is largely a studio amalgamation. One wonders why a band can't recreate the sound of their youth, but Yes wasn't the exception, more the rule.

Jethro Tull - The Broadsword and the Beast. 1982 Chrysalis (LP). From a friend's garage sale (Aug). Catching up on Tull albums I missed in my youth apparently. Despite sporting a proggy / metal styled cover, it's neither. Many fans point to this as a return to the sound of early 70s Tull. Not really. It's like that Kayak - Merlin album I wrote about many years ago. It's "good for 1982" in a mainstream kind of way. Nothing underground about it. Slick 80s production hides whatever creativity Anderson and team may have brought forth. You can hear a little flute and some tepid guitar - and lots of modern synthesizers. It was the sound of New Wave contrasted with AOR styled compositions. I would still submit it's a good album, but nothing to raise much interest.

Strawbs - Grave New World. 1976 A&M (1972) (LP). From a large garage sale buy in Monument (Jul). Deceptively beautiful gatefold package with booklet. More folk than prog at this stage, though the mellotron is much welcomed. Almost kept it but they lost me on side 2.

Jethro Tull - Too Old to Rock 'N' Roll; Too Young to Die! 1976 Chrysalis (LP). Thrift shop find (Jun). Starts off pretty decent but gets increasingly boring as it goes. Song oriented without the songs I'd submit. Definitely a weak link in Tull's 70s output. I was surprised to learn that even nice gatefold originals (like this copy) are only going for $5. It's the first one I've found in the wilds in five years. But demand is light and I can understand why.

Jeff Wayne - War of the Worlds. 1978 Columbia (2xLP). Thrift shop find (Jun). Rare to find in this great condition and with the book. One has to wonder just how much juice Wayne was able to squeeze from to be able to put out such a big budget affair. Judging by the number of pressings, this album can only be considered a wild success. I'm not a rock opera guy, so it mostly flew by without notice for me. In today's world, the kids call this "good cheese". I don't think it's cheesy rather it's a sincere work of art. Just not my thing.

Dunaj - Rosol. 2001 Indies (1991) (CD). Collection revisit (May) More art rock from Czechia (as they now call it). Their next album Dudlay has a special place in my heart for a variety of historical reasons. I grabbed this one much later, and it doesn't resonate as much as, say, the other MCH Band albums. There's a similarity to all the songs here. I think I'd enjoy better if a couple of these tracks showed up on a compilation. 

Finisterre - In Limine. 1996 Mellow (CD). Collection revisit (May). To be honest I thought I had this one rated too low. I'm a fan of their debut, and especially of Zuffanti's retro prog group La Maschera di Cera. As it turns out I had it rated properly. Like the debut, it's a bit all over the place. But this one comes across as more sterile. I also felt that way when I first obtained the album upon release. Tastes change, and I thought this would be one that would have joined me on my journey. If anything, we're further apart. It is a very good album, but I fear that In Limine falls into the dreaded "too much of the same thing". 

Echolyn - Suffocating the Bloom. 1992 private (CD). Collection revisit (May). Echolyn are/were one of those bands that I was dictated to that I must like, but I just never could get into them much. Some 30 years has passed, so I think its time for an objective listen at my advanced age. Mannn... I still don't get them! At least on this album. But I do see the allure. One cannot accuse Echolyn of not giving it their all. They are talented - this is obvious - and their brand of the Midwest variation of Gentle Giant should push every button I possess. But it doesn't. Why? Not really sure. It's overly vocal oriented which can be a turnoff for me. They don't let the instruments breathe. Their melodic style doesn't resonate either. I can honestly state that I like the album, but it isn't next level for me. I fear to say I have to move on from this CD. Maybe other albums will trigger the right emotion, but Suffocating the Bloom never did. 

Submarine Silence. 2001 Mellow (CD). Collection revisit (Apr). Created by members of the Italian neo prog band Moongarden, Submarine Silence jumped on the retro prog bandwagon and went for a more 70s aesthetic. The overall music approach is very similar to mid 70s Genesis (including Paul Whitehead artwork from the Foxtrot era). It's all instrumental and I was quite impressed when it first came out. Perhaps too many other albums have come along since that are much better at replicating the sounds of the past. In reflection, Submarine Silence misses on the analog warmness, and it does possess a more modern touch, even if that wasn't their intent. One more "too much of the same thing" when expanding the lens. 

* - Keeping for the collection

Aria Palea ~ Italy

Zoicekardi'a (1996)

Of late I've been digging into my 90s obscure prog collection, especially from Italy. One of those bands is Aria Palea, a group who released two albums before riding off into the sunset. Both of their albums I bought real time, and then filed away to not return again for many years. Aria Palea's second album Danze D'Ansie was released in 1998 and I finally covered it again in 2020, and the review is here on UMR. I concluded that review with: "Had you told me this was an archival album from 1976 originally destined for the Grog label, I would have believed it. And that's the story line here. If you're a fan of Italian progressive rock, this is one of those hidden titles you'll want to seek out. I also have the debut, which I'll eventually need to report back on as well." There's no time like the present. It's now been 28 years since I heard this debut. Let's give it a fresh spin.

In reviewing those notes for Danze D'Ansie I called out Area, classic Italian prog, and a decidedly retro angle. Aria Palea were a pioneer in the Italian prog renaissance by ironically setting back the clock. What separates Aria Palea even further is their willingness to explore the experimental side of progressive rock, a sound we might associate more with the term Krautrock. Flute is the primary lead instrument, though when the guitar amps up, it's in the raw state we typically find in early 70s Germany. Vocals do have a Demetrio Stratos bent, and this is heard on the very first notes. Zoicekardi'a is the type of album that ages well because it's unpredictable yet pleasing to the ears.

Of interest to me is the low ratings the band receives on ProgArchives. Most of those ratings were from the early days of the site, and it shows the mindset of the era, and of the original reviewer's perspective. Had Zoicekardi'a been released in the last few years, I believe Aria Palea would fare far better based on the reviews I see there today. I've said this many times in the past, but I'm most curious if we'll see a nostalgic enthusiasm for 90s prog, like we have for the 70s and 80s. We may not, as it was a niche audience from the beginning. But there was plenty of output back then, and rabid fans (like me) paid good money for these CDs, hungry for more new progressive rock. I'm personally grateful that I hear many of these albums better now than ever. The perfect reason to own something rather than rent.

Ownership: 1996 Lizard (CD). Lyric booklet with photos.

8//96 (first acquired); 9/28/24 (review)

Danze d'Ansie (1998)

As I've mentioned a few times before, the 1990s hold many prog rock gems that were little known even back then, and now have been completely forgotten. Aria Palea is one of those bands. They released two albums in the late 90s and basically disappeared save perhaps a comp contribution. Many of the 90s bands took a page from the 70s Italian prog cookbook and then proceeded to record using modern production techniques. Not Aria Palea. While it's not retro prog in the purest sense, it definitely sounds more like an earlier album. The primary reason for this perception is that the predominant lead instrument is the flute, one of those timeless sounds that transcends current fads. The other is the decidedly Demetrio Stratos styled vocals, using a similar affectation. While not near as demonstrative as Alberto Piras (Deus Ex Machina), the overall impression remains. There's plenty of guitar to savor as well. Had you told me this was an archival album from 1976 originally destined for the Grog label, I would have believed it. And that's the story line here. If you're a fan of Italian progressive rock, this is one of those hidden titles you'll want to seek out. I also have the debut, which I'll eventually need to report back on as well.

Ownership: 1998 Lizard (CD). Unique die-cut-in-the-center lyric booklet.

1998 (first acquired); 11/6/20 (review)

11/6/20 (new entry)

Espiritu ~ Argentina

Crisalida (1975)

Crisalida is one of those albums I've owned on CD for 34 years, but haven't heard in the last 20 (2004 being the first year I journaled every listen). And despite the lengthy gap, I found myself recognizing most of the album as it went on. Such was the era when we had less, so there was more repetition per album.

I noted for Espiritu's second album: "an intriguing mix of Relayer-era Yes blended with Argentine singer songwriter tendencies. Libre y Natural can be weighed down by the latter, especially as it drifts towards pop realms with whiny dramatic vocals, only to be reeled back with some fine Moog soloing, wicked bass, and odd rhythms." On this debut they sound far more like an Italian prog band, rather than the more established acts of the day, which they were to pursue on Libre y Natural. I would submit that their opening salvo was a consequence of their culture versus a concerted effort to sound that way. They also stayed primarily within the progressive rock rails eschewing the temptation for pop stardom. What you get here are the trademarks of the Italian scene: Stop-start rhythms, severe dynamic changes, dramatic vocals, and a reckless seeking of new ideas without an end game in sight. All positives as far as I'm concerned. Crisalida is an album that has aged very well for me. +1 after all these years.

Ownership: 1989 Music Hall (CD)

1990 (acquired); 9/24/24 (review)

Libre y Natural (1976)

Espiritu's second album is an intriguing mix of Relayer-era Yes blended with Argentine singer songwriter tendencies. Libre y Natural can be weighed down by the latter, especially as it drifts towards pop realms with whiny dramatic vocals, only to be reeled back with some fine Moog soloing, wicked bass, and odd rhythms. Not the best Argentina has to offer when it comes to progressive rock, but certainly worth the effort to hear on occasion.

Former ownership: 1997 Microfon / Sony (CD)

2//96 (acquired); 6/30/16 (review); 9/15/24 (update)

6/30/16 (new entry)

Bi Kyo Ran ~ Japan

Who Ma Live Vol. 2. (1982-1983)

There was a time when I was really into these type of mostly instrumental King Crimson bands. Borrowing heavy from KC's Starless and Bible Black era, Bi Kyo Ran mixed the rigid discipline of angular and circular guitar patterns with that of free improvisation. It's another type of sound that I have too much of, even though Who Ma is a fine example of the style - once you adjust your ears to both the sound recording and the odd vocal patterns.

Former ownership: 1993 Belle Antique (CD). Acquired in 1993. Downsized in 2024. Also once had the LP.

1993; 9/20/24 (review)

Kyobo na Ongaku (1997)

Bi Kyo Ran burst onto the scene in the early 1980s with an album that was very much patterned after King Crimson's Larks Tongues to Red era. After experimenting with that sound further and bringing in some different styles, Kyobo na Ongaku is a return to the debut. It's a very intense work, perhaps exhausting at times, but adding a full time 4th member on keyboards does help break the monotony. And since his keyboard of choice is mellotron, that helps even more with softening the constant barrage of guitar, bass, and drums.

Former ownership: 1997 Freiheit (CD). Booklet with lyrics in Japanese. This is the original pressing. One year later, Musea issued it under the title A Violent Music. My copy did not have an obi - nor does any other copy I have seen. Acquired in 1998. Downsized in 2025.

1998; 12/11/20 (review)

Also own: Bi Kyo Ran (1982); Parallax

12/11/20 (new entry)

2024 Classic rock / AOR Journal Vol. 2 - Complete

*Heart - Dreamboat Annie. Capitol (MC) (1975). Grabbed this with the Neil Young and Bad Company below (Aug). I view Heart's debut as an album of missed opportunity. It could have been - perhaps should have been - one of the all-time great 70s hard rock / prog crossover albums. The two major hits from the album 'Magic Man' and 'Crazy on You' reference both genres brilliantly. I hadn't picked up on the excellence of 'Sing Child' until last night's listen, yet another strong prog number with flute. Much of the rest is folk rock or soft rock. I can understand hedging the bet that a female lead group in the middle 70s might not be accepted into the masculine world of hard rock, but they clearly were anyway. They were truly pioneers. I'm going to keep this tape. I've had the LP a few times, but I always go for the profit.

Queen - Queen II. 2011 Hollywood (CD) (1974). Thrift shop find (Aug). Queen II is usually the prog fans first choice when talking Queen. But to my ears they sound just as much like Queen here as anywhere else. To their credit, they had a unique sound. However that sound isn't for me. They needed to release Brian May off his leash and let him rip. The 20 minute EP bonus CD is better, demonstrating Queen in a more raw state. I was surprised at the quality of the B side 45 'See What a Fool I've Been' which looks difficult to score as an original.

REO Speedwagon - You Get What You Play For. 1977 Epic (2xLP). Garage sale (Aug). If there's ever been a band I should like but don't, it's REO Speedwagon. They're from the hardscrabble Midwest and their primary stock in trade is hard rock. But they also had this desire to play good times boogie rock, complete with pounding piano and dopey rock n' roll themes. Before disco, this was the music of choice for the party crowd. Styx did the same thing in the early to mid 70s. And that's what sinks this band for me. However the live version of 'Golden Country' - all by itself - almost had me keeping this. It's that good. More of that would have resulted in a monster outing. There were many bands in the Midwest that did just that, most privately released and very obscure.

Chirco - Visitation. 1972 Crested Butte (LP). This was from the very large garage sale south buy (Jul). One could argue that Chirco were influenced by the James Gang. Some hard rock, a little prog, boogie, and early 70s hippy-isms. Not bad. Despite the label name, the band aren't from the remote ski town of Crested Butte, but rather Denver.

James Gang - Live in Concert. 1971 ABC (LP). One more from the same sale (Jul). The best of the three, and James Gang were naturals for the live circuit. I do like that they improvise and add energy to tracks that weren't necessarily that way in the studio. But it's still a very typical early 70s styled concert, complete with drum solo.

James Gang - Straight Shooter. 1972 ABC (LP). Found with below (Jul). Better than I thought it would be. Troiano takes over guitar from Walsh and keeps the momentum. Hodge-podge of hard rock, funk, and country rock. The latter keeping me from full enjoyment.

James Gang - Rides Again. 1970 ABC (LP). From a large garage sale haul in Monument (Jul). I had this album once in the early 90s, but decided to try it again anyway. 'The Bomber' is a fantastic example of early metal and space rock jamming. 'Funk #49' is a well known hard rock track. But mostly it's fairly average 1970 styled eclectic classic rock. Had a +1 listen and curiosity satiated, but it can go.

Neil Young with Crazy Horse - Broken Arrow. 1996 Reprise (MC). Same find as Bad Company (Jul). I do like the fuzzy guitar tone of Crazy Horse, and when they jam it's very good. But the songs are not for me. Young is one of those artists that just bugs the crap out of me, not sure why. To date though, this is the best I've heard from him. But I still haven't heard his most classic albums beyond Harvest. I'll keep trying.

Bad Company - Bad Co. 198? Swan Song (MC) (1974). From a friend's garage sale (Jul). I've somehow managed to get this far in life without hearing Bad Company's debut in full. But I recognized over half of it anyway as they've been radio staples since I was a kid. What isn't played on the radio is inferior. Just not my band.

Eagles - One of These Nights. 1975 Asylum (LP). From the same thrift shop buy as below (Jun). For a short time in the 70s there were a lot of these countryish rock bands that went all in for soft rock. Think Atlanta Rhythm Section and Ozark Mountain Daredevils. Eagles were the king of them all. Side 1 is pretty good actually including the title track. Side 2 is difficult to get through.

Bad Company - Desolation Angels. 1979 Swan Song (LP). From a large thrift shop buy (Jun). This is the only one I should have left behind, as it's only a $5 record which surprised me. Musically that's what it's worth though. I never really understood the allure of Bad Company. A very ordinary 70s rock band with a little muscle, but not enough to qualify for hard rock. Their songs do tend to stick with you... in a bad way.

*El Chicano - Celebration. 1972 KAPP (LP). Excellent Latin rock with all the usual trappings: Hammond, percussion, Santana guitar, soulful melodies. CDs are scarce but I'd be interested in supplementing this copy. From What's Left (Jun).

A Raincoat - Digalongamacs. 1975 EMI (LP). Very odd and unique UK Baroque pop / glam like a mashup of The Beatles, ELO, and Queen. Has a quirkiness that reminds me some of the sillier UK psych outfits. Out of time for 1975 - forwards and backwards. I can't imagine who the audience for this band was, and it's possible they didn't have one. Not really my thing either but I can appreciate the creativity applied. From Dr. Boom (May).

* - Keeping for the collection

Granmax ~ USA ~ Kansas City, Missouri

Kiss Heaven Goodbye (1978)

---11/7/07

For 1978, Kiss Heaven Goodbye rocks hard and has some riffing that you may have only found on a Judas Priest album (think Stained Class) at this early date. Pretty much nonstop heavy rock, and no pub and boogie rockers to drag it down as is typical for albums such as this.

---9/16/24

It was a long time in the making, but finally Granmax's heralded second album has been reissued. Long a sought after item by hard rock collectors, prices soared to unattainable heights.

There have been a few more late 70s private hard rockers I've discovered since, but Kansas City's Granmax belongs in that top tier discussion. Heavy rock was more and more prominent in the late 70s Midwest landscape, and American males everywhere were looking for an outlet to burn their pent-up energy. Borrowing from Judas Priest, Rush, Blue Oyster Cult, Budgie, Grand Funk, Kiss, Black Sabbath, and every other A-lister heavy band of the era, Kiss Heaven Goodbye was the answer to a lot of young dude's wishes. In the same way the first Van Halen was. Not every track is a winner, but even among the more mediocre tunes resides a creative riffing sequence. Granmax were ahead of their time and well positioned to go to the next step. They were auditioning for Polydor and then they disappeared without a trace. The liner notes mention it as an abrupt occurrence but do not give us details. It's easy to see how Granmax could have been peers of a group like Manilla Road, eventually going all in for heavy metal. They had the talent, the fantasy lyrics, and the masculinity to pull it off. One more tale of woe in the hard rock annals of American history.

The CD includes three bonus tracks taken from a concert of the era. These songs show the band moving more to the center, though maintaining their heaviness, demonstrating they had a desire to rise in the charts.

Ownership: 2024 Cult Metal Classics (CD). Contains history, perspectives, photos, lyrics, and recording data.

11/7/07 (first listen); 9/16/24 (acquired / review / new entry)

Mahavishnu Orchestra (& related) ~ International

Visions of the Emerald Beyond (1975) 

A nice return to their Inner Mounting Flame days with perhaps more variety. I'm surprisingly not that intimate with this release, having spent much more time with the original trio, likely because I bought those LPs in college whereas this came a few years later for no particular reason other than immediate availability. And I was able to derive a +1 out of this listen while I was at it. This would prove to be the last heavy fusion effort by the ensemble. John McLaughlin was ready to move onto more mellow realms. Always liked the Legacy series. Sony were one of the first of the major labels to bring histories and other items of interest rather than just being content to pop out commodities in digital format.

Ownership: 

1991 Columbia Legacy (CD). Historical liner notes. Acquired in 1992.

1975 Columbia (LP). Gatefold. Reacquired in 2026.

1992; 9/16/24 (review)

John McLaughlin - Devotion (1970)

Devotion represents McLaughlin's first major electric outing, fully embracing rock and psychedelic at this stage. This is the sound that he brought forward to Miles Davis and, most notably, Mahavishnu Orchestra. Honestly if you have an album with McLaughlin on electric guitar and Larry Young on organ, there's only going to one conclusion: Sublime. Devotion is a loosely structured album with random bits of guitar and keyboard soloing and a brilliant rhythm section. For me this is the kind of album that defines the term Jazz Rock, though more technically it should be called Rock Jazz. He would later revisit this topic on the even more explosive album with his spiritual friend Carlos Santana on Love Devotion and Surrender.

Ownership: 1972 Douglas (LP). Gatefold. Acquired in 1992.

Former ownership> 1970 Douglas (8-trk). Sealed. How fun is this? I kept it for awhile just for the novelty. Acquired in 2024. Downsized in 2026.

9/24/92; 4/24/95; 11/22/23 (review)

Inner Mounting Flame (1971)

As also noted in that Al Di Meola Elegant Gypsy review (lots of important data in there apparently), I discovered Mahavishnu in college via that tired discussion of who is the fastest guitarist. I had no idea even know who John McLaughlin was. I started at the beginning with Mahavishnu Orchestra, and I’m glad I did, because Inner Mounting Flame remains my favorite by the band. Really more jazz rock than jazz fusion, the rawness and intensity found here is astounding. The beginning of the genre as we know it. 100’s were to follow, but no one really topped this. Well except maybe McLaughlin's one foray with Carlos Santana. Perhaps if Larry Young had been part of Mahavishnu, it would have been the greatest ever. 

Ownership: 

1971 Columbia (LP). Acquired in 1987.

Columbia (CD) 80s pressing. Not sure when I got this. Likely in the 90s as it's an older CD.

1987; 7/25/14; 3/17/23 (review)

Also own: Birds of Fire; Love Devotion Surrender; The Lost Trident Sessions

3/17/23 (new entry)

Pinguin ~ Germany

Der Grosse Rote Vogel (1972)

After the psych band Talix released Spuren, they reemerged as Pinguin and issued one fine album in the contemporary Krautrock field. There are six tracks that play as two side long suites. The instrumentation will be familiar to students of the genre: Hammond organ, loud and jamming electric guitar, flute, saxophone, and a thunderous rhythm section. One twist is the vocals are in German, a very unusual move at the time. Period groups such as Nosferatu, Os Mundi, Hanuman, Ikarus, and Xhol Caravan come to mind here. The music belongs as much to progressive rock as it to does to the more atmospheric Krautrock tag, as there's plenty of complexity brought forth. I'm reminded of Inside era Eloy in this way. The second side demonstrates more of the Krautrock experimentalism that we've come to expect. Closer 'Der Traum' is a trippy and jazzy piece with phased vocals. Great album throughout.

Ownership: 1972 Zebra (LP). Acquired in 2005.

No legit reissues exist as of 8/11/26.

3//05; 9/13/24 (review / new entry)

Ixt Adux ~ USA ~ Los Angeles, California

Brainstorm (1982)

---3/6/11

Long Beach, California based Ixt Adux were yet another late 70s / early 80s American band that had absolutely no chance of commercial success. Their brand of aggressive and complex King Crimson influenced guitar-based rock (no keyboards here) will remind the listener of Midwest prog groups such as St. Elmo's Fire, October, The Inserts, and Ariel - other hopelessly obscure albums. There's even a little Canterbury undercurrent (but brash and entirely American). The vocalist definitely enjoyed listening to Van der Graaf Generator, and he employs many Hammill-like declarations. The album starts off more towards aggressive hard rock but it's a head fake, and they begin to display their complex nature on A2. There's even some nods to the avant prog genre to be found.

---9/13/24

In hearing this album for the first time in 13 years, I find myself at a +1. Challenging and unique, Ixt Adux were seeking a niche audience inside of a niche audience. Great stuff.

Ownership: 1982 Madame X (LP). Lyric insert. 

No reissues exist as of 3/31/25.

2//92 (first listen); 3/6/11 (review); 9/13/24 (update / new entry)

Fleetwood Mac ~ England

Jumping At Shadows (1969 / 1985)

This archival concert from Boston is taken from the Then Play On tour with excellent sound. The first half is very good and energetic hard rock with raw guitar from Peter Green and crew. It bogs down into straight blues by the end. Nothing at all here would indicate this band would release Rumours one day.

Source: 1985 Varrick (LP)

9/11/24 (review)

Then Play On (1969 / 1970)

It's always interesting to hear a band's recognized classic album this late in the game. For most folks, Fleetwood Mac is associated with Stevie Nicks and their two mid 70s albums Fleetwood Mac and Rumours. I've spoken of my history with those albums already, and to this day, I still feel that I'm a bit young to appreciate them. Thrifting has given me the opportunity to hear some of their pre Stevie works such as Mystery to Me, Penguin, and Kiln House, each worse than the last. The curve ball here is Bare Trees which has some interesting, and very good, material on it. Again, I've covered off on most of these already.

But what about Then Play On? For deep divers - and for younger folks coming along way later than me - Then Play On is their best album. It has no chance of ever outranking Rumours, because iconic albums such as that get a free pass on analytical criticism, for a variety of reasons including nostalgic remembrance and group think. Problem is, because of its underground "cool" status, finding it on LP isn't easy like the others. 

My initial reaction wasn't overly positive. 'Coming Your Way' is a great hard rocking opener, but starting with 'Closing My Eyes', I was beginning to wonder what the big deal was. It's not bad or anything, just sort of ordinary blues rock. Things get interesting with the meandering psychedelic 'Underway' which is followed by the album's centerpiece 'Oh Well'. Another odd aspect of Then Play On is that none of the tracks on here were FM radio staples. At least not by the late 70s. I bring that up here at 'Oh Well' because I did recognize this song. It just wasn't by Fleetwood Mac, but rather a band called The Rockets, who covered only the rockin' part of the track in 1979. I remember it well, and enjoyed hearing it on the radio back then. Never knew who they were until now - or the source of the song. What's great about 'Oh Well' is not the rocking first third, but rather the rest, which drifts off into the pastoral countryside for the remainder.

And this is how good albums suck you in. It's subtle with Then Play On, but the album continues without rhyme or reason. The 'Madge' tracks are fantastic west coast styled psychedelic ramblers and 'Rattlesnake Shake' is a good jamming hard rocker. Well really, I could go on and on here, but there's no cohesiveness to this album whatsoever. And therein lies its charm. To me, it's amazing Fleetwood Mac ever got that far in their recording career. They were on their 11th album by the time 'Rhiannon' became a massive hit. How many great musical acts never got past one album? And here's Fleetwood Mac with a pile of mediocre to very good, but unfocused albums to their credit, before it all came together. It's like one of those football head coaches who string together many years of 8 and 8 records, only to win the Super Bowl twice in a row afterward. Obviously the talent was there all along. 

Whatever the case, glad I finally heard this one. I'll be keeping it. 

Some significant release details: The original 1969 release is different than the 1970 (& beyond) repress. And that's significant because 'Oh Well' is not on the originals. And that doesn't even get me started on the differences between the US and UK pressings, much less other countries. And then the CDs came along and mashed them all up together, but again without rhyme or reason. Like the album itself haha.

Ownership: 1976 Reprise (LP). Gatefold. Acquired in 2022.

8/1/22 (review)

Kiln House (LP)

Finally, a new-to-me Fleetwood Mac album. But unfortunately I'm already pining for Stevie Nicks and crew. Wow - I really don't like this album. It has more in common with Bill Haley than it does anything from the 60s and 70s. Which is fine if you enjoy that sort of thing, but I don't. Kirwan doesn't get a chance to shine much here, though the one saving grace is his composition 'Tell Me All the Things You Do', the album's easy highlight. Where is Bob Welch when you need him? Great cover belies its musical content.

Source: 1970 Reprise (LP)

7/3/21 (review)

 

Bare Trees (1972)

It appears that one of my favorite pastimes is to buy Fleetwood Mac albums at thrift shops so that I can bash them here. And I always seem to find the same ones, so I never get to hear anything new. Like with Supertramp, even their most commoditized albums go for ten bucks at record shows, and even more for Rumours. In any case, this is my second go round with Bare Trees. One last try before it too finds its inevitable way to the show bin. Then a funny thing happened. I found myself actually enjoying it. Finally a Fleetwood Mac album that doesn't make me feel like a mature adult. Once it began to capture my imagination, I decided to research the history. And then it all comes together. There are three songwriters here, each very different. And that's the story of the album itself - a true transition album going from their bluesy, but loosey goosey past, onto their MOR years that the band is most known for. One is Christine McVie, the blues gal that continued (along with her then-husband John) onto to fame and fortune with the band. Her two tracks are my least favorite here. Then there's Bob Welch, the Californian whose mature songwriting foreshadowed their later work, even though he didn't stick around long enough for the big time. 'Sentimental Lady' is a great example of this, and he was able to gain some fortune for the song - but as a solo artist five years later. His other contribution is 'The Ghost', which is about as close to prog as Fleetwood Mac ever gets, and is the highlight of the album. Some fine flute helps with that perception. The other half belongs to a one Danny Kirwan, as mercurial an individual as they come, and this would be his swan song for Fleetwood Mac. And he's all over the place when it comes to style. Unfocused and unhinged. And therein lies the allure. All of his compositions are really good, without any cohesion between them. 'Danny's Chant' is downright acid rock. What?

Ownership: 1977 Reprise (LP). Acquired in 2021.

5/3/21 (review)

 

Fleetwood Mac (1975)

Here's the beginning of the classic lineup with Stevie Nicks and Lindsey Buckingham. Last year I wrote in detail my thoughts of this era of Fleetwood Mac, after hearing Rumours again. This album is even more mature than that one. I presume they're playing this in Senior Centers now? I'll never be old enough to listen to this. Average at best. I just don't get it.

Source: 1975 Reprise (LP)

12/21/20 (review)

Mystery to Me (1973) 

What's a mystery to me is why Fleetwood Mac are so popular - at least after they dumped the blues. More adult contemporary music for those who are more mature than me (I sense a theme here...). I do admit to really enjoying 'Hypnotized', perhaps a luck-out track on their part. Opener 'Emerald Eyes' is good too. The rest you can have.

Source: 1973 Reprise (LP)

11/2/20 (review)

  

Rumours (1977)

It was the beginning of 1977 that I first began to listen to FM radio intently. With my new all-in-one Sanyo stereo including tape deck, the idea that I could actually tape what was on the radio was mind blowing, and given my organizational nature (even back then), I would spend hours listening for the best songs to put on compilation tapes. I think that's why my parents bought it for me. No more Genius Hans to worry about! Here's dinner under the door....

If Rumours wasn't the album played most in 1977, it certainly was in the running for top spot. The music here was really too mature for what I was looking for back then. I was all of 12, and it seemed to be massively popular not with the kids I went to school with, but rather those 3 to 10 years older. By the time I got to high school in 1979, the music world was a-changin', and Rumours was just music for older people as far as I saw it. But that didn't stop the radio from playing the hits from this album over and over. And here we are some 42 years later, and the radio still plays these songs as if that's all we want to hear. Like they locked in their play list in 1978 and refused to budge. The heyday of FM radio I guess. Similar to Watergate and investigative journalism. They want that moment in time back.

I don't and never did...want that time back, that is. Had I heard this album all the way through before? Oh probably - may have even taped it in full (ooh, Mick Fleetwood would not have liked that, no sirree). I didn't rate it, because I can't honestly say I'd heard it in recent times (recent = last 20 years).

It seems I've heard this album anyway - just through pure inculcation. Thank you K*** 105 and W*** 98, etc... For the known tracks - the inescapable ones - I would say my opinion hasn't changed much since I was 12. Guess I haven't evolved much huh? Well I know that's not true, but maybe it is with MOR records. So for my DNA, 'The Chain' is still great, and 'Dreams' I can listen to without cringing. The rest - make it stop. As for the few unknown tracks, I did find myself enjoying the last 2. Not enough to keep the album mind you. I'm not going to say this is a bad album - that's crazy. The songs are well written, but they just don't resonate with me at all. Probably how my parents felt about Elvis.

The bottom line: I'm just not old enough to listen to this. Even now.

Ownership: Warner Bros (CD). Always tempted to keep the LP's I find but this commodity CD is all I need. Acquired in 2025

9/14/19 (review)

9/14/19 (new entry)

Canvas Solaris ~ USA ~ Georgia

Spatial / Design (2003)

Spatial / Design is the debut for Canvas Solaris and also my introduction to the band. The type of hyper complex yet messy thrash that Canvas Solaris were peddling in, had mostly stopped a decade prior. It was a welcome reprieve to the onslaught of the same old power and prog metal albums saturating the shelves during that era. Not only is this complicated but there are no vocals either, so the music has to carry the weight. Similar to Spastic Ink in that way. But whereas the latter was too much guitar soloing, Canvas Solaris manages to keep it grounded with the almighty riff and they even throw in a melody or two. Admittedly there's nothing that memorable here, yet it still remains highly satisfying on two straight listens. I think the EP format is perfect for music such as this. 26 minutes of tech thrash is like a triple album's worth of classic rock. I continued with the group and own two more of their albums, which I certainly need to revisit. I recall those being more professional perhaps to their detriment.

Ownership: 2003 Tribunal (CD). Acquired in 2004.

2004; 9/1/24 (review)

Also own: Sublimation; The Atomized Dream; Chromosphere; Irradiance

9/1/24 (new entry)

2024 Hard Rock Journal Vol. 2 - Complete

The following came from a friend's garage sale. He had a pile of cassette tapes for a buck each, so I bought about 35 of them, many I kept as extras for the heck of it.

Alice Cooper - From the Inside. 1978 Warner Bros. (MC). Looks like I found this on LP back in 2019 and subsequently gave it 1 star, which is really bad. I don't even remember that. Hence I now keep these journals. Let's try it again. I don't hear it so awful this go round, but yea, it's not very good for certain. Mostly limp-wristed hard rock shilling for radio time. OK only a +1, moving it to a Gnosis 6. Woof. (Aug)

AC/DC - Highway to Hell. 1979 Atlantic (MC). As noted many times before, I'm no fan of AC/DC. For me, Highway to Hell has always been Exhibit A as to why. To this day I think the title track is abhorrent. But is the whole album so bad really? After taking a deep breath I went for a full listen. I can objectively say it's better than I remembered, +2 in fact. Which is still two points from any kind of collection consideration. But I moved it from way outside of my interest area to average for the style. (Aug)

Stevie Ray Vaughan and Double Trouble - Texas Flood. 1983 Epic (MC). I purchased Vaughan's Couldn't Stand the Weather when it first came out, but that was all I knew about his work until recently. Texas Flood is his debut and is more conservative than the aforementioned Weather album. Straight up Texas Blues with only a hint of the psychedelic. (Aug)

Jimmy Page - Outrider. 1988 Geffen (MC). Much better than I would have expected. Page takes the Led Zeppelin sound to 1988. Perhaps more like The Firm. Not as multi-dimensional as Zeppelin's classics, but they were also losing their way by the end like everyone else. You really couldn't hope for much more than this. Solid hard blues rock, though I found the first side better. (Jul)

---end of sale

Kiss - Asylum. 1985 Mercury (LP). From a local record store's $1 bin (Jun). A high priced store that inexplicably will throw in more expensive albums in the buck bin because it might have a flaw. This one has a nasty looking scuff on Side 2. It's inaudible! I'll take the deal thank you. As for the music I found this one better than the previous Animalize. Better tones and songwriting. None of which plays to Kiss' strength. Average I guess.

The Hunt - Back on the Hunt. 1980 Visa (LP). From a large garage sale buy that I've mainly covered in the Jazz/Fusion or Funk journals (Jun). I really enjoy The Hunt's debut and I'd heard the second was a major drop off in quality. Is that true? Mixed bag but 6 of the 10 are solid hard rockers. A1,A2, A5, B3-B5 are more thoughtful than expected. The other four are pretty dreadful, though A3 is maybe just too long rather than bad. They should have stuck to originals as two of the three stinkers are cover tunes. I won't keep this one but better than I expected.

April Wine - Harder....Faster. 1979 Capitol (LP). From an antique mall (Jun). I seem to be gravitating towards Canadian hard rock / AOR of late. Solid entry and some really good tunes, and some throwaways. Some of these tracks were soundtracks to my freshman year of high school. Their cover of Crimson's Schizoid Man adds one more point. 

Roy Buchanan - Second Album. 1973 Polydor (LP). From What's Left (Jun). Solid instrumental blues rock. Doesn't amp up too much but there is a little of that.

Joe Satriani. 1995 Relativity (CD). From a Kansas City area thrift store back in Oct 2023 (Jun). Solid guitar fronted hard rock / blues / metal release. Satriani takes the kitchen sink model and tries his hand at various styles. Well played and he has a good melodic sense. Not something I need to keep however.

The Cult - Electric. 1987 Sire (LP). From the Springs record show (May). This album bugs me. I should embrace it. An obvious 80s band who went decidedly hard rock, a favorite style of mine. But it's a type of modern hard rock I don't appreciate. Too self-conscious and too cool for school. I struggle to get through it. I thought my rating of 8 was too low, but if anything, it may have been a bit high.

Joan Jett and The Blackhearts - I Love Rock n' Roll. 1981 The Boardwalk (LP). From the COS record show (May). The title song was one of many soundtracks of my high school years. Not a song I ever embraced I'll quickly assess. This is their debut after Jett left the Runaways. Much credit is heaped onto Jett for releasing a groundbreaking hard rock album, an unusual move for women at the time. From my perspective, I say whoop-de-doo. This is a decidedly masculine sounding album, and The Blackhearts are dudes anyway. One would think Heart would have far more credibility on that topic, and they brought a unique feminine touch, that which is completely missing here. I consider this album boring as heck. Every song sounds the same and is borderline 50's rock and roll revivalist. Not impressed. 

---collection revisits

Kai Kln - Vigoda. 1996 Rude Boys (1992) (CD). Sacramento, California based Kai Kln have much more of a Guns N' Roses thing going here on Vigoda than the pure hard rock delight of the debut Rythym of Stranger (sic). Though there's some carryover of the same energy and sound in places. Not a bad album at all, but definitely playing more to an established audience with set expectations rather than the pure retro 70s hard rock of earlier. (May)

Mandrill ~ USA ~ Brooklyn, New York

Composite Truth (1973)

I'm much more familiar with Mandrill's fourth effort Just Outside of Town, but this predecessor has a familiar pattern to that title. A unique mix of funk, soul, prog, and Latin rock. 'Fencewalk' is one of their most known compositions and is also one of the highlights of the album. Great heavy guitar too. Parts of 'Golden Stone' could have been lifted right off The Yes Album. 'Moroccan Nights' is their standard soft instrumental to close the album and is stunningly beautiful. I'm not too fond of the calypso based 'Polk Street Carnival' but the rest is aces. 

Ownership: 1973 Polydor promo (LP). Gatefold.

2008; 5/16/15; 7/2/19; 8/30/24 (review) 

8/30/24 (new entry) 

Entity ~ Italy

Il Falso Centro (2013)

Two years after the release of Entity's debut Il Falso Centro, I purchased the CD along with four other contemporary Italian prog albums (the others were by Astrolabio, Aurora Lunare, Locus Amoenus, and Marchesi Scamorza). That's a lot of intense music in a short period of time. Entity was the last one to click, some nine years later. But why? On the surface Il Falso Centro is pitch perfect by-the-numbers prog rock as only the Italians know how to do. The dynamic and meter changes; the passionate instrumental and vocal sections.The retro instrumentation (mostly modern variations to emulate the sound). Respected writers on ProgArchives are gushing in their praise, and reference check some of the greatest 1970s bands from Italy. What else could you possibly want? 

Well.... I want something to stick, that's one thing. Last night's listen was to be the feature, an album I will focus on and nothing else. But my mind started to wander as the music began to develop. I started researching other things on the internet. By the fourth number I was enjoying what I was hearing before realizing that a half hour had blown by and I still had no idea what I was listening to. I stopped the music and started again. Closed my eyes and tried to process every note. Objectively speaking Entity has a great understanding of the genre. But perhaps it is too well studied, a doctorate dissertation of Italian prog. As the album unfolded more gems began to shine and I was finally immersed into its contents. I was battling the perception of "too much of the same thing" from a collection perspective. And maybe that still holds true. But that "same thing" is a sound that I cherish.

Ownership: 2013 Locanda del Vento (CD). Acquired in 2015.

1/31/15; 12/28/23; 8/19/24 (review / new entry)

Frank Marino / Mahogany Rush ~ Canada ~ Montreal, Quebec

Eye of the Storm (2000)

---Feb 2005

Whoa! Nice surprise this one is. I was expecting at best an attempt at his patented driving hard rock / Hendrix styled rock. What I didn’t foresee is a more progressive styled album. Eye of the Storm features some looooong space rock jams using Arabic scales – just like the old Krautrockers would do! You can hear this on the lengthy ten minute title track and even more so on the slightly longer ‘He’s Calling’. It isn’t until the 4th track, ‘Learned My Lesson Well’, that the What’s Next era Marino shows up. And that’s great too! This is followed by the 11 ½ minute ‘Heat of the Moment’ which recalls ‘Poppy’, my personal favorite Marino composition. Next is 'Windows to the World' which reminds me of ‘The Answer’ from Mahogany Rush IV (nice to see Frank reaching this far back into his repertoire). Another long cut, ‘Avalon’, also brings to mind the highly melodic ‘Poppy’ in addition to the jazzy instrumental ‘Tales of the Unexpected’ era. Believe it or not, I not only think this is a great album, but I think could very well be his best studio effort! Totally amazed by that.

---9/28/14

This really was a magnificent comeback for Frank Marino. Eye of the Storm arrived in 2000, 18 years after his last significant studio album Juggernaut (there were a couple of obscure efforts in between and one excellent live album). Perhaps what's most amazing about Eye of the Storm is that the album isn't a continuation of his more known hard rock style, but rather a further look back into his psychedelic past of the very early days of his career. Many of the tracks are quite lengthy: Four of them near or over the 10 minute mark with two more pushing eight each. The music at times goes off into a space rock direction, filled to the brim with Marino's amazing solo guitar talent. If you're familiar with the excellent 'Poppy' track from his live albums, then there's quite a bit of that style here. Only the straightforward, yet still excellent rocker 'Learned My Lesson Well' will recall the Marino of the 'What's Next' era.

As I write this review, we have yet to get a new album from Frank. If this is indeed his swan song, then he definitely went out on a high. Though possibly even better than this studio effort, is the 2004 ReaLLive album that just lays the concert hall to waste.

It's really too bad this album has fallen through the cracks, and few seem to have noticed. As I write this, it's #889 for 2001. Wow - that's really sad for an artist who has a legacy like Frank Marino - and this is one of his best albums ever! I do think its rediscovery is eventual - it's only a matter of time.

---8/18/24

For that last sentence, I said similar on my recent review of Tales of the Unexpected. And the album is now #1,606 for 2001, having lost half its ground. Over time, quality music transcends the trends of an era. Like evaluating a president, history will be the judge based on data, not emotion. I predict Frank Marino will be near the top when it's all said and done. I enjoyed another +1 listen, and it now resides in the highest tier of my world.

Ownership: 2001 Just A Minute (CD). Lyric booklet. Acquired in 2005.

2//05 (review); 9/28/14 (review #2); 8/18/24 (update)

World Anthem (1977)

Frank should be all the rage in today's musical world, not sure why he isn't. I was first introduced to Frank Marino at the point where Tales of the Unexpected was released. I really enjoyed that album and bought the others that were in print at the time - namely IV, Live, and this album (the first three were OOP back then). For whatever reason, World Anthem remains my least favorite of these albums (well, the first Live album isn't very good - especially compared to what he later released live). It's a transitional album from the IV release, which was an odd mix of hard blues, funk rock, and prog (?!). But World Anthem also harbors some of the more aggressive hard rock that Marino was to pursue on the smoking live side of Tales of the Unexpected. In the end, I've really warmed up to this album, after some 41 years of familiarity.

Ownership: 1977 Columbia (LP). Acquired in 1979.

1979; 1//08; 8/28/16; 11/27/20 (review)

What's Next (1980)

Frank Marino and Mahogany Rush's 7th studio album is about as great as it can get when talking fast paced and bluesy hard rock guitar. 'You Got Livin'', 'Finish Line', 'Mona', and especially 'Something's Comin' Our Way' are jaw dropping in their execution and intensity, and represent the apex of Marino's original recordings. Not an entirely consistent album, though for hard blues fans, it's also difficult not to love 'Rock Me Baby' and 'Loved By You'. I'm not real fond of the Doors' cover 'Roadhouse Blues', primarily because it doesn't add anything new and lacks Marino's usual unique solo touch.

One of the all-time great hard rock albums - at times strikingly so.

Ownership: 

1980 Columbia (LP). Acquired in 1980

2017 Rock Candy (CD). Liner notes from long time Kerrang writer Malcom Dome. Some photos and poster shots as well. Acquired in 2019.

1980; 9/14/19 (review)

Full Circle (1986)

I bought this one when it came out, already a fully fledged Frank Marino fan. I was pretty disappointed at the time, but kept it all these years anyway. It's still probably his weakest effort objectively speaking, but there's some really good material here. In particular the opener and 'Had Enough', the latter recalling some of his best work, where he really lets loose on the instrument he's holding behind his head. 

Ownership: 1986 Grudge / Maze (LP). Acquired in 1986.

1986; 2004; 8/20/18 (review)

Tales of the Unexpected (1979)

A very interesting album that has aged well I think (heck - I bought the album when it came out - I was all of 14). 'Sister Change' is a killer psych funk track - a sound that didn't find its audience until 25 years later. The instrumental title track really is something unexpected. Half of it is smoldering psych fusion ala Mahavishnu John McLaughlin while the second half enters into 60s Les Paul / Grant Green lightly amplified jazz territory. 'All Along the Watchtower' is Marino covering Hendrix's version of the Dylan classic, so a bit superfluous I guess, but still great to hear Frank do it. 'Norwegian Wood' is the throwaway here. It's not a bad cover, but too far removed - and soft - for what makes Marino great (besides, it's only three minutes). As for Side 2 - well this is the classic Mahogany Rush side. Absolute killer hard blues rock as only Frank and the boys can do it. Blazing solos throughout. 'Woman' is just phenomenal. And the prototype for the amazing What's Next album.

Mark my words - the rediscovery of Frank Marino will one day happen, a great talent who is sadly way too unknown in these times. I might be 80 when it occurs.... but it will happen.

Ownership: 

1979 Columbia (LP). Acquired in 1979.

1990 Columbia (CD)

1979; 1/7/15 (review)

Other albums I own: Maxoom; Child of the Novelty; Strange Universe; Mahogany Rush IV; The Power of Rock and Roll; Juggernaut; Double Live; Real Live!

1/7/15 (new entry)

2024 Metal Journal Vol. 2 - Complete

Quiet Riot - Metal Health. 1983 Pasha (MC). Thrift shop find (Aug). I bought this title on vinyl upon release while still in high school. In those days sometimes you would hear the "right" track and then subsequently go out and buy the LP. That's what happened to me, as they played 'Run for Cover', arguably the best track here. Quiet Riot were a band I saw in the import bins, as their first two albums were very hard to come by - and expensive. So I was predisposed to like them without hearing a note. And obviously disappointment ensued. The album as a whole isn't as bad as I remembered and I enjoyed a +2 listen, which is still two points from even considering keeping. The glam / pop metal side of the band, most known for their cover of 'Cum on Feel the Noize', is most representative of the album at large.

Leash Law - Dogface. 2004 Black Lotus (CD). From the 2016 buy (Aug). Didn't have high hopes for this title and that ended up being true. Average metal with grating vocals and unmemorable riffs. Not a lot of invention either. Average for the style. Going for less than Ray Conniff LPs in the marketplace too... A loser I'm afraid to say.

Warlock - Triumph and Agony. 1987 Vertigo (LP). Same sale (Jul). Two points off of the debut. Here Doro's voice is more grating and the tunes are more anthemic and commercial in nature. Gone are the exploratory riffs and amateur curiosity.

*Warlock - Burning the Witches. 1987 Vertigo (1984) (LP). From T&R sale (Jul). Doro's grand entrance on the world metal stage. All these years and I've never heard anything by, or related, to her. Burning the Witches is old fashioned metal with a unique in-a-tunnel metal sound. Doro sounds mostly like Geddy Lee, and one could argue that Warlock at this stage sound like a metalized Rush. It's not very progressive but the riffs and songwriting are excellent if not amateurish. No chance I would have liked this album when it came out, as it was looking backwards and was miles from the progression Metallica was bringing to the surface. Today I think it's great in that nostalgic sort of way. Great vintage metal cover art that today would likely be banned for its negative sexualized depiction of women. Probably Doro herself designed it, but that's the modern idiot for you.

Dream Child - Reaching the Golden Gates. 1998 Metal Blade (CD). Same as Wingdom (Jul). And for most of the CD, same as Wingdom in the music category. Textbook prog metal. But Dream Child are French and they never do anything by the book. So there's quite a few moments of unexpected musical turns. It's not messy enough for me, but it wasn't too far off. I would have kept this only a few years ago.

Wingdom - Reality. 2005 The A Label (CD). Finally getting back to that 2016 metal buy (Jul). There are so many albums like Wingdom's sole output. European power metal with a Dream Theater like delivery minus the acrobatics. From a musical perspective Reality is very accomplished. From an originality standpoint, the Finnish group score a big fat zero. There's not one interesting sequence for the entire 57 minute length. You'd think with close to a full hour at their disposal they could come up with something unique, even if by accident. If I was new to the genre, any one of these albums would make the grade. But that ship sailed in the 90s.

Twisted Sister - You Can't Stop Rock 'N' Roll. 1983 Atlantic (LP). Same deal as the Keel (Jun). This wasn't as bad as I thought it would be but it's no classic either. It's mostly dumbo metal, but there's a couple of decent tracks here with thoughtful riffs. They were business opportunists who made a good living doing this kind of metal. Right time, right place.

Keel - The Right to Rock. 1985 A&M (LP). From a local store for a dollar (Jun). Only needed a cleaning. Total mid 80s bonehead metal. Side 2 is much better, but much of it is re-recordings from their debut, which must be better. With tracks like the title song and 'So Many Girls, So Little Time' I think it's safe to assume Keel didn't graduate... elementary school.

At the Gates - Slaughter of the Soul. 2002 Earache (CD) (1995). From an antique shop in Hutchinson, Kansas (Oct 2023/Jun). Excellent guitar tone. Deathy screamy vocals. Tracks tend to blend together. Not my thing but good for what it is.

Steve Vai - Passion & Warfare. 1990 Relativity (CD). I had this on vinyl back in the day, and grabbed this CD recently for a buck for the hell of it. For this kind of guitar fronted hard rock / metal, Passion & Warfare is one of the better ones I've heard. Good energy and some fine melodies as well. I'm going +1 but still not enough to keep. From an antique shop in Hutchinson, Kansas (Oct 2023/May).

The Sterling Cooke Force - Force This. 1986 Ransom (LP). Well... this didn't work out at all lol. After enthusiastically going on about the Electric Sun styled debut, Force This sounds like what the band looks like on the back cover. Hair metal. I was hoping the image was a curveball and the guitar tone remained the same as prior. No such luck. Win some, lose the rest. Discogs acquisition (Apr).

Stryper - Soldiers Under Command. 1985 Enigma. White vinyl (LP). Held this one back from the RT collection (2021/Apr). I think he bought it because of the vinyl color. Anyway, famous Christian "white metal" act. Musically not bad at all, very much representing the style of the day. They look like hair metallers but they offer more than that. Still it's nothing unique beyond the lyric content. To be sold.

Stryper - The Yellow and Black Attack! 1986 Enigma. Blue vinyl and round cover (LP). Same deal as above from RT (2021/Apr). And musically very similar. Solid metal for the Christian set.

Motorhead - Another Perfect Day. 1983 Mercury (LP). The last Motorhead album from that collection buy last year (2023/Apr). Moving more towards hard rock, even a bit of commercialism. Not really any better or worse to my ears than some of the earlier Motorhead albums. But I think I have enough, and can let this one go. 

---collection revisits

Suspyre - When Time Fades... 2008 Sensory (CD). I can't seem to let this go. It's like many of my prog metal albums. Exceptionally well played, overly technical, and not very memorable. But this is even more than the usual tech savvy, so I feel like it just needs more time. (Jun)

*Confessor - Unraveled. 2005 Season of Mist (CD). Second album by North Carolina based doom metal band Confessor, some 14 years after their debut. Their uniqueness is brought forth by adding a progressive component to their sound. And while it does remain rhythmically interesting, the songs still sound pretty much the same. Same tones, same style. I recall their debut being better. Will need to revisit. (May)

* - Keeping for the collection