Agusa ~ Sweden

Noir (2024)

Agusa are one of only a small handful of contemporary bands that I would consider buying new product from at this advanced stage of my collection. Last year's Prima Materia is about as great an album as has been released since the early 90s retro prog renaissance first appeared. I didn't expect so much from Noir, as it's purportedly a soundtrack of some sort. With 15 tracks + five more bonus (presuming not part of the soundtrack), Agusa is performing short form music for the first time that I can recall. They've once again reintroduced a Krautrock element, something they first showed their adeptness with on 2021's En Annan Värld. The stylistic brush is much wider here with nods to electronic, spoken word (like the French would do on occasion in a similar setting during the early 70s), psychedelic, progressive, experimental, space rock, chamber, and folk. Make no mistake, this is Agusa at their psychy proggy best, but with more variety. 

The five "bonus" tracks seem more like they appended a new EP at the end. Focusing more on their Krautrock tendencies. Perhaps even better than the album proper. 

Great music overall and I can see this title being a grower.

Ownership: 2024 Kommun 2 (CD). Digipak. Acquired in 2024.

12/28/24 (review)

Prima Materia (2023)

I find it fascinating on how we sometimes as listeners connect with albums. I currently have almost 200 albums in my collection that I rate 5 stars on RYM or 13 or above on Gnosis. They - appropriately enough - reflect a very small percentage of my overall listening experience. But those that make this list are very special to me for obvious reasons. Almost all of these go back to my formative years of deep diving into the vast world of underground music, with an occasional nod to a more well known album. It is very unusual for a newer album to transcend into this rarified territory. There are many reasons for this, mostly associative emotion - that which represents a time and place in one's life. When you're almost 60, the emotional aspect of the individual has (usually) stabilized. Those zenith moments are much fewer and far between. Much of this is familiarity and experience. In life it's the "been there, done that" factor. In music, we tend to recognize familiar patterns. Some are as comfortable as putting on your favorite pair of jeans. Others become tedious after close to 50 years of the same ol', same ol'.

I bring all of this up here on this review, as Prima Materia is (as I'm sure you've guessed by now) one of those rare albums. Even though Agusa have been around since 2014, and I own all of their studio albums plus one live outing, the group continues to evolve in the same manner as I have. And every single trigger and button got pushed for me, for a magical first time listen (and immediate subsequent listens). Perhaps this wouldn't have been such a great revelation for me 20 or even 10 years ago. But where my mental state is today, Prima Materia represents my personal soundtrack.

If you already know Agusa, then Prima Materia isn't really that much different than anything else they've released to date. Their stock and trade is that of the Swedish folk melody contrasted with the beautiful melodicism and instrumental progressive rock of a Camel (as but one example), or more close to home, Flasket Brinner. Flute is front and center to their sound, along with vintage keyboards and a delicious fuzz guitar tone. In addition to their normal approach, I picked up a distinct Brazilian bossa nova sound for this outing. It's the perfect complement to their recipe. This may come as a surprise if you weren't already aware of Sweden's long time fascination with Latin jazz.

As with any album that transcends the highest tier, words alone cannot express my adulation for such a beautiful piece of music. It's another kind of emotional language - one that if we all mastered, there would be world peace.

Ownership: 2023 Kommun 2 (CD). Digipak. Acquired in 2024.

3/31/24 (review)

En Annan Värld (2021)

En Annan Värld is Agusa's 4th studio album made up of two long tracks totaling 46 minutes. The first opus presented here is largely a continuation of what Agusa had established on their self titled 3rd album. On that review I stated that Agusa seems to be the next generation of Flasket Brinner, with organ, psychedelic guitar, and flute leading the instrumental parade. Their overall sound is very organic, and while complex, it doesn't seem overtly so. Melody and warm analog tones are their key drivers. The second track is a bit of a departure and introduces a Krautrock element. Oh darn, not that. lol. Elements of late 60s Pink Floyd trickle in, as Agusa flows into a deep space. The instrumentation remains the same as everything else they've done, so this is not a cold clinical exercise in modern post rock, which I usually find to be boring. Rather, Agusa are pure analog bliss, with a trippy 60s mindset. Doesn't get better than that. This is the second album in a row that Agusa transcends the competition to the highest level. And now I'm reading about a new 5th album. Might break down and get that one upon release. I don't do that much anymore.

Ownership: 2021 Kommun 2 (CD). Digipak. Acquired in 2023.

7/1/23 (review)

Agusa (2017)

Agusa is back with their 3rd instrumental studio release, and continue on with their unique take on the 1973 Swedish landscape. No change in style, but the execution continues to accelerate in a  positive way. The songwriting is memorable, and the instrumentals more kinetic than even before. It's as if the Silence label just released the next Flasket Brinner album. The usual instrumentation of organ, psychedelic guitar, and flute continue to drive Agusa's sound. To my ears, this is Agusa's best album to date. It's a much welcome style, and one that isn't over copied. I can listen to this kind of music all day. Brilliant really.

Ownership: 2017 Laser's Edge (CD). Acquired in 2017.

12/16/17 (review)

Katarsis (2016)

Agusa's first live album, and third album overall, sees the band do what they do best: Jam. Recorded in Greece (Feb 12, 2016), and released on CD in the same country, this was obviously a planned event and Agusa clearly prepared heavily for it - meaning the band is sharp on all fronts. The material is culled from two tracks taken from their debut. Both are stretched considerably here, especially 'Kärlek Från Agusa' which was only a short bonus track on the original. Musically, the band hasn't changed one iota. This is 1972 Sweden brought forth and distilled for the modern age. Folk based melodies, progressive rock structures and changes, with psychedelic sounds (organ, flute, acid guitar, pulsating bass, and pounding drums). It's a recipe that has patrons lined out the door for more. No point in tweaking that now. Given the improvisational nature of the concert, this album is entirely unique to the studio offerings, and as such, is a worthy investment on its own.

Ownership: 2016 Sound Effect (CD). Oversized papersleeve. Copy #136 / 150. Acquired in 2016.

12/6/16 (review); 11/26/25

Två (2015)

Agusa quickly follows their highly regarded debut Högtid, with the old school moniker of "2" (Två / Tva), in Swedish of course. If you were hoping for some modern development, you've come to the wrong place. Agusa's mindset defiantly remains in 1971, and that's exactly what their audience wants to hear. In addition to Hammond organ, psychedelic electric guitar, and a pulsating rhythm section, Agusa have added the always welcome ingredient of flute. Well, that just about covers the landscape of 45 years ago. As with Högtid, Swedish folkloric melodies are the centerpiece, particularly on the first side long track (ah, it warms the cockles of my heart to say "side long track") 'Gånglåt från Vintergatan'. It's Kenny Håkansson fronting Flasket Brinner with a dollop of International Harvester on the side. Even better is the darker and less familiar 'Kung Bores Dans' - yet another side long opus. Agusa's music is organic and free flowing. There are no jaw dropping breaks or instrumental flights of fancy. I never tire of music such as this. This is the kind of album where you lay down, close your eyes, and let the music take you to new and unknown places. Soothing, comfortable, and entirely psychedelic.

Ownership: 2015 Laser's Edge (CD). Digipak. Acquired in 2015.

9/2/15 (review); 9/22/23

Högtid (2014)

Agusa are a new band from Sweden that has ties to two other UMR favorites: Sveriges Kommuner och Landsting and Kama Loka. Seeing the album is on Kommun2, and the description read that the music is in a similar 70s retro vein, it seemed a guarantee I would like it. And indeed it came to pass - I love it. Once again we are presented with a heavy - yet subdued - primarily instrumental psychedelic rock album, with Hammond organ, acoustic and fuzz guitar, wordless voices, pounding percussion - all with that distinct Nordic touch (while occasionally looking east towards Asia), that shows up in the melodies and overall atmosphere. There are no pyrotechnics here - this is an album for reflection and careful study. For fans of Flasket Brinner, early Trettioariga Kriget, Kebnekaise, Saga, and other classics from the Swedish 70s underground.

The CD adds a short track that is fleshed out greatly on the Katarsis live show.

Ownership: 2014 Kommun 2 (LP). Gatefold. Acquired in 2014.

5/10/14 (review); 6/6/26

5/10/14 (new entry)

Ex Vitae ~ France

Mandarine (1978)

---2/18/11

Ex Vitae's solo album, at times, is at the peak of the French jazzy progressive rock genre, recalling such luminaries as Moving Gelatine Plates and Ma Banlieue Flasque. The complex counterpoint rhythms, fuzz guitar, flute, synthesizer solos, violin, the "je ne sais quoi" attitude. But alas, it's not all so consistent, as there's some aimless free jazz and a couple of pointless experimental bits that show the band tried too hard to be artsy. Still, about 75% of the album is splendid. One can only hope for more great tracks hidden in the vaults.

---12/25/24

Alas no bonus tracks were found. One reviewer called out Soft Machine, especially at the time of their freer jazz era. I agree with that comparison. Title track is my favorite of the four though the opener possesses the peak moments. The album remains slightly out of my grasp. I'll probably keep it anyway, as I do enjoy possessing private presses such as this.

Ownership: 1978 private (LP). Acquired in 2000.

Album was reissued on CD by Musea (2018) and LP by Replica (2021).

2000; 2/18/11 (review); 12/25/24 (update)

12/25/24 (new entry)

2024 Metal Journal Vol. 3 - Complete

Casus Belli - In the Name of the Rose. 2005 Limb (CD). One of many from that 2016 buy I still haven't heard. I feel that 2025 will be the year I finally conquer my backlog. More on that topic later. Casus Belli are from Greece and they play... European power metal. So - SO many of these bands like this from that era. I give them credit, they start off with two fast paced numbers to get one's attention. No messing around with arty pretension. I like their tones too. But they're about as original as the rest of them. Vocalist has nailed the Bruce Dickinson tenor, and Judas Priest's Painkiller is front and center for the rhythm section. Man, no one wants this stuff today, each cheaper than the last one. Hype sticker says "Power Metal. ...combines murderous riffs* and rhythms with compositorial elegance**, garnished*** with an incredible vocalist and an exceptional guitar player." OK fine, it is a hype sticker after all. *I'm not sure I'd want my riffs to be murderous though, especially live in concert. **Compositorial is a new word for me, so I looked it up, and it's not used correctly here. ***-Sounds like a fine dining table layout. (Dec)

Legend - The Dark Place. 2013 Workshop (CD). Collection revisit (Dec). In the first entry of this journal I bemoan the fact that Legend's comeback effort was well done, true to their early albums, yet it somehow felt too safe and planned out. The Dark Place came a decade later, is their follow up to Still Screaming, and it remains their last studio effort to date. Starting out like a vintage early 80s Judas Priest album, it doesn't appear Legend are going to take too many chances here either. I do like their guitar tone and Mike Lezala has a great voice for metal (he actually sings!). Legend are to be admired for not jumping on modern metal trends in order to stay relevant. They are, pardon the expression, legends in their own right. And it is that legacy they bring forward here. However there's a dearth of ideas or catchy tunes to keep going forward with. Unfortunately. Interesting to note that the final track, though no longer in duration than any other tune, has the right idea in terms of progressing their sound further. Too little, too late. 

The Mystick Krewe of Clearlight. 2000 Tee Pee (CD). Collection revisit (Dec). Instrumental side project of Eyehategod from New Orleans. The gimmick here is that one of the instruments is a Hammond organ. The music is fairly generic stoner metal fare, though not unpleasant. The organ helps with this, but unfortunately it's buried in the mix. Given the sound palette options, one would hope for more of a stylistic brush. It never really unfolds that way and after some 40 minutes, you realize not much as happened. I appreciate the willingness to expand beyond the same ol' same ol' but they hedged their bet too much and played it safe.

Cinderella - Night Songs. 1986 Mercury (LP). Another Colorado Springs pre record show grab for cheap. (Nov). Cinderella were from Philadelphia and their image was pure glam with teased hair, makeup, and standard issue 80's chasin' chicks fare. The music is really nothing of the sort, sounding very much like AC/DC, maybe Aerosmith for a stretch goal. I could have just as easily written this in the hard rock journal, but metal is where the band is generally categorized. I'm sure the band had talent and could have done far better than this effort, but such were the times to get recognized, and Cinderella cashed in just fine. It's not an embarrassing work, but rather mundane in the scheme of things. While gathering for a family Thanksgiving dinner, little Timmy finds the album buried in a nearby desk drawer, and points to the photo confused: "Did you really used to look like that, Uncle Eric?"

Lanfear - The Art Effect. 2003 Nightmare (CD). From a large metal collection I bought last year. Most were sealed as is this. So off to YouTube to check it out first to see if I might want to keep it (Nov). This looks like typical German prog metal. I'm going to read some positive reviews to get me in the mood for this... Alright found some. They enthusiastically compare Lanfear to Queensryche and Blind Guardian. Oh boy, not more of that. Oh yea, more of that. Well let's see if a melody or sequence catches my ear. Something different maybe? Nope. It's certainly well played and executed. I think prog / power metal was a cottage industry in Europe during this era, and many folks made a halfway decent living doing this. As I said in the first Winterlong review below: "They really were spitting these kind of albums out during this era, huh? I missed it all real time having moved on from this breed of prog metal by the late 90s. Looks to have been a prudent move."

Eldritch - Headquake. 2006 Limb (CD) (1997). Collection revisit (Nov). Somehow I ended up with five Eldritch albums, I think because they were deep discounted at some point. I did first hear Seeds of Rage real time, but everything else came much later. The Italy based Eldritch could be seen as the blueprint for European prog / power metal that would become commonplace in the 2000s. The raw and quirky tech thrash of the early 90s morphing into the very professional sound of Dream Theater. I do appreciate their gritty tone, much less friendly than their contemporaries. The use of synthesizers is more atmospheric than showy. Vocals (from American Terence Holler) are from the LaBrie school without the wimpy moments. It's tough to evaluate these albums at such a late stage primarily because I have so much of it already. I sense that if this was one of my first discoveries in the genre, I would have played it numerous times and many of the sequences, breaks, and melodies would be burned deep into to my soul. Super package with a slip case, a full poster of the cover, thick booklet with lyrics, photos, and a short biography. And four bonus tracks. Great value. Despite all of that, just too much of the same thing here for me to hold onto.

Iron Cross. 2001 Iron Glory (CD) (1986). Collection revisit (Nov). After first acquiring the CD, in Dec 2004, I wrote: "More great vintage thrash with plenty of mid tempo pure HM. Similar to the Griffin I spoke of before, though this is clearly more bar/basement. Orlando, Florida based group foreshadowing the impending death metal movement that prevailed, and ultimately dominated there. Iron Cross could also be considered a tangent Savatage (another Florida group) could have taken had they explored more with thrash. Some prog moves and moods with solos closer to 70’s hard rock than 80’s hair metal pig squeal. All the songs are about death, demons, Halloween, etc… traditional bonehead metal fare. Check out the Umberto Eco-like prose on ‘S+M Medley’: “Tight Jeans well they hypnotize, you got pulled tight to the perfect size and you know you should have buttoned your shirt”". ------In hearing this CD again for the first time since, I'll pull back the thrash comment and attribute it more to US Power Metal, like fellow Floridians Iced Earth. Early Savatage remains the best guidepost here along with the classics such as Judas Priest and Iron Maiden. It's a very amateurish take on all these bands, and while I usually reward such endeavors, this one needed a bit more time in the production room. The CD adds bonus tracks from 1991 and 1999, and it appears additional ones from the original recording session. Oddly the band never improved. Were I fortunate enough to own this as an original LP, I'd likely treasure it, considering it's financially truly a treasure. 

Haji's Kitchen. 1995 Shrapnel (CD). Collection revisit (Sep). These guys were from my old stompin' grounds of Lewisville, Texas (Dallas suburb). I bought this not long after it was released and I was quite taken with the sound at the time. I always liked the premise of groove metal, that of a slower thrash, but with heavier guitars and more bluesy solos. Vocals were often a problem, but they aren't really egregious here. The issue I have is the similarity of each subsequent track. The opener on Haji's Kitchen is 'Machine' and it's a great wake up siren. But it sort of meanders from there. They needed more something, whether it be complexity or palette of sound or not-sure-what. They do add some intriguing elements on occasion but not enough to deviate very far. This album is held in high regard for genre fans, and I can see why. But I think I'm going to move on from it.

Winterlong. 2005 Lion (Finland) (CD). Thrift shop find (Sep). From the off, this sounds like a distinct improvement on their debut Valley of the Lost. And it becomes apparent they're copying Iron Maiden rather than the multitudes of Euro power metal neo-classical outfits. And that's a good thing. Unfortunately they aren't exploring that sound further as the namesake Iron Maiden currently is. As the album rolled on, their speed metal roots came to the fore. Gotta do more than that in 2005.

*Ratt (EP). 1984 Time Coast (MC) (1983). From my buddy's garage sale (Sep). Solid debut from San Diego's Ratt, a band that rode the fence between solid traditional metal and glam. Really not that much different from their California brethren Motley Crue. Sort of an updated and metalized Aerosmith. Lots of swagger and politically incorrect sexism. You know, the good ol' days. For a dollar cassette, I think I'll hold onto this one.

Winterlong - Valley of the Lost. 2001 Lion (Finland) (CD). Thrift shop find (Aug). Standard issue neo-classical power metal from Sweden with fast chromatic scale solos and synthesizers going at about the same speed. Vocals are aggressive but non-abrasive. There's some grittiness here that I appreciate, but they're too accomplished to be that interesting lol. It's good, of course, and not painful to sit through. It's just the same ol' same 'ol. They really were spitting these kind of albums out during this era, huh? I missed it all real time having moved on from this breed of prog metal by the late 90s. Looks to have been a prudent move.

Legend - Still Screaming. 2003 Monster (CD). Collection revisit (May). Kind of a bummer that I didn't really get much out of this reunion release. I love the early Legend albums, all pioneers of the original NWOBHM movement. Still Screaming is very much in spirit with those albums too, not a change in direction. But it lacks the angst and naivety of youth. Too stale and rehearsed. It's good, yes, but I don't need more of it.

* - Keeping for the collection

2024 Classic rock / AOR Journal Vol. 3 - Complete

Baby Boom - Driven Too Far. 1987 Cheese (EP). Pulled this out of a local buck bin (Dec), and one of their 45s was stuck in there as well. So I'll be checking that one out soon too. Private pressing from Red Bank, New Jersey. Driven Too Far is what one would just call a rock album (or EP in this case) similar to The Flying Boxcars below. Four straightforward songs with two guitarists who never take the spotlight. As it plays on, I think their spirit guide was Dire Straits. Decent effort.

Eric Quincy Tate - E.Q.T. 1975 GRC (LP). Found this sealed for a buck at the same store in Denver as The Flying Box Cars below (Nov). Don't want to break the seal yet, so I'll check it out on YouTube first. There's no one named Eric Quincy Tate in the band. They apparently were discovered by none other than UMR favorite Tony Joe White, which makes me want to hear their first album. This is their 3rd effort. Based on what little data is out there, EQT were from southern Texas (either San Antonio or Corpus Christi). Eventually they migrated to Atlanta. Technically this falls in the Southern Rock genre, but to me it's more country rock. There's nothing on the first side that caught my attention. The second side is much more interesting. 'Drivin' Wheel' sounds like one of the Allman Brothers bluesy tracks with some fine guitar from Wayne Sauls and Hammond from Joseph Rogers. This leads to the 15+  minute closer 'Big Boss Jam'. Starts off in hard-times blues territory before finally getting into jam-rock mode five minutes in. It's mostly a boogie styled jam with plenty of pounding piano. Not my kind of album, but not hard to listen to either. Average for the style.

Queen - News of the World. 1977 Elektra (LP). Also from the Colorado Springs Record Show (Nov). This time from a dealer I only knew from Denver who usually has good deals (as was this). I haven't heard this album since it came out. I was in junior high. There are few albums in the world that have as iconic an opening as this one does. 'We Will Rock You' is still, and maybe forever, played in arenas worldwide. 'We Are the Champions' is no less used in a similar setting, usually after all is said and done and your team won. Despite this, the album isn't nowhere near their most famous, nor as highly regarded. As noted here (too) many times, I'm no fan of Queen. They just don't seem able to bring any kind of consistency, and their theatrical glammy roots always rubs me the wrong way. 

Zebra. 1983 Atlantic (LP). Same dollar bin as below (Nov). Much was made when this New Orleans based band arrived on the world stage, with comparisons to Led Zeppelin and Rush being brought forth. Randy Jackson gives a Plant like performance without the blues edginess. Though billed as a proggy hard rock band, it's definitely AOR. 'Who's Behind the Door', which closes side one, was a minor hit and a very intriguing song, and the one place you can hear the Rush influence. The album closer might be the best track here. 'The La La Song' is probably the heaviest and proggiest thing here despite the fluffy premise. Other than the ill advised boogie rocker 'Slow Down', everything here is easy to absorb. But it all seems watered down. A production boost to highlight the hard rock angle of the band would have gone a long way to obtaining street cred, and an album that would be revered highly today. As it stands, it's a mere anachronism in the time of New Wave synth pop.

The Flying Boxcars. 1980 Rufert (LP). Found this in the buck bin of a Denver store this past weekend (Oct). I'm sure many of you wondered whatever happened to the perfectly named ex-Cain singer Jiggs Lee. I mean who wouldn't? Turns out he formed or joined The Flying Boxcars. This private press from St. Paul, Minnesota is what we used to call a "rock album". Eclectic without any identity or focus. Recorded (or written) between 1976 and 1980, the songs vacillate between AOR, boogie, hard rock, prog, and whatever else they felt like doing. They clearly wanted to be discovered and receive airplay. I'm guessing they did at least get some local or regional radio coverage. The highlights include the great synthesizer work, the occasional organ, and of course Lee's voice. Unfortunately none of the songs are highlights and the album sort of flies by without notice.

Aviary. 1979 Epic (LP). From the Rocky Mountain Record Show (Oct). Aviary is a large cage for birds, and the guys on the front certainly look like they belong in one! Remember "feathered back" hair? Haha. Well anyway, I had been told this is a very good proggy AOR album so I chanced it. While I can see the allure, the album comes from that strain I don't care for so much - that of Queen and ELO, with a little Beatles thrown in for good measure. Not for me I'm afraid.

El Chicano - Pyramid of Love and Friends. 1975 MCA (LP). Obtained with the below (Oct). Similar to Cinco but perhaps even more transparent on their commercial direction. They want that label money, that's for sure. I would submit that the songs are a bit better here than on the predecessor, but that's not saying much. I'm bummed honestly, expected much more from these. At least I can look forward to hearing their first two albums, if I ever find them that is...

El Chicano - Cinco. 1974 MCA (LP). From the same dealer as the Swallow (Oct). To date I've only heard Celebration, a solid Latin rocker in the Santana / Malo tradition. Two years later, El Chicano has toned down their sound considerably. While Carlos and co. were upping their game with high flying fusion, El Chicano seemed to have an eye on the radio charts. There's almost nothing here that is catchy, and there are very few instrumentals save the closer. All the songs except one are covers. Not a bad album but sounds like a sellout. 

Swallow - Out of the Nest. 1972 Warner Bros. promo (LP). Also from Stanley but a different vendor (Sep). I had this LP about 20 years ago when I bought a few horn rock albums on ebay for deep discounts. I sold it back into the marketplace, but here it is for $2, and I forgot the contents (one more reminder as to why I keep these journals). Let's try it again. Swallow were from Boston and Out of the Nest features no less than an 11 piece band. With such a large lineup one would hope for more music! But alas it's mostly early 70s styled North American classic rock with some country thrown in. A4 is great and the sole Chicago styled brass rocker. B1 isn't too bad either from a horn rock perspective, other than some out of place vocals. The rest isn't for me. Overall average at best.

2024 Fusion / Jazz Journal Vol. 5 - Complete

Herbie Hancock - Mwandishi. 2000 Warner Bros. (CD) (1971). Collection revisit (Dec). I recently revisited the follow up Crossings and my view there applies here as well. This is an album I want to like but I just don't feel it. And since it's more about spirituality than tactics, then it's imperative I do connect with it. I've tried for some 20 years, but this music isn't where I exist. Doesn't diminish my appreciation one iota, but have to be realistic to what I enjoy.

The Platina - The Girl With the Flaxen Hair. 2003 Mio (CD) (1976 archival). Collection revisit (Nov). My notes from 2005 stated: "Interesting archive album that mixes flute based rock with more avant saxophone jazz. First half of the album and latter tracks are fantastic, recalling a European sound found in bands such as the French group Triode. The wheezing jazz bits are a bit wearing for me, but probably not for those who normally enjoy that sound." That's pretty much it really. It's definitely more of a jazz album than rock. Plenty of interesting moments but not really any highlights.

Miles Davis - Sorcerer. 2005 Columbia Legacy (CD) (1967). Collection revisit (Nov). Yea this one is sort of middle-of-the-road Miles jazz. See Seven Steps review below from what I like from Davis. I pretty much have a full shelf of albums by him, so some of these have to go. The Legacy reissue is excellent of course.

*Buckner Funken Jazz - Demo. private (MC). I pulled this out of my friend's garage sale a couple of months ago. One sided demo tape. Pretty much what it says on the label. This is stage band styled jazz. There's no data on the tape, except for a business card that says Rod Buckner is the leader. The phone number area code indicates he's from nearby Denver. Solos from trombone, trumpet, and saxophone. Electric bass and drums round out the primary sound. The first tune I recognize as a standard, but couldn't tell you what it is. Alright, now let's see if they're on the internet. Yep! They call themselves an old school funk band. Hmm. This isn't the JB's that's for sure. There is rhythm guitar which helps with that angle. Sparse vocals. OK, I recognize the Average White Band on one cover tune. Some really good electric guitar jamming on this track but buried in the mix. The music improves as it goes into more of a jazz rock direction (still not much funk). Looks like they're still playing as of 2024. I'm going to contact Buckner to get more info about this tape (I did - and no response, oh well). (Nov)

*Miles Davis - Seven Steps to Heaven. 2005 Columbia Legacy (CD) (1963). Collection revisit (Nov). Unfortunately I have way more Miles than I need (or perhaps want is the better word). I've already shed a few of his albums, and now comes the next round of cuts. Not to worry, I have every intention of keeping my favorites till the end. Kind of Blue is Mrs. UMR's all-time favorite album and something we listen together quite a bit. Get Up With It remains my favorite electric period album, a strange choice I realize. And many more keepers including Agharta which is where it began with me and Miles. I find myself drawn to Davis' polars, either that of the lounge relaxers like Kind of Blue or the intense ragers that define the Bitches Brew era. Anything in the middle sort of flies by without notice. The opener 'Basin Street Blues' gave me that mellow buzz I crave from Davis. Same with 3 and 5 and... Yea, I have to keep this one too. Yet another great Legacy reissue.

* - Keeping for the collection

2024 Psychedelic / Garage Journal Vol. 4 - Complete

*Ultimate Spinach - Behold & See. 1995 Big Beat (CD) (1968). Collection revisit (Dec). Ultimate Spinach's second album is an inventive psych album from the freewheeling 1968 landscape. Part of the Bosstown manufactured set of groups, Ultimate Spinach mixes Jefferson Airplane hard hitting female sung psych combined with long experimental tracks. 'Mind Flowers' is as close as any band has come to sounding like the great Group 1850. Not long after recording this opus, the primary group dissolved and the label had to scramble to piece together an unrelated set of musicians to complete their third and last album. Yet another tale from America of great talent wheezing out before taking it to the next level. Given the commercialism of our music industry, perhaps not a bad sequence of events. Interesting reissue supervised by Alan Lorber, the man who created the Bosstown brand in the first place. One track is missing and apparently others have been altered slightly. Borderline free association liner notes. If I find the LP, I'll have to compare the differences.

*Strawberry Path - When the Raven Has Come to the Earth. 1998 P-Vine (CD) (1971). Collection revisit (Nov). An interesting duo from Japan. Years ago I compared them to Tractor, but I think they're closer to the post Hendrix sound with additional organ. At times they really jam out. They also throw in ballads, a drum solo, and a melancholic proggy closer complete with flute. Debated on whether to keep this, but it's just unique enough for a +1 rating, and this CD is a wonderful mini-LP reproduction.

* - Keeping for the collection

2024 X-Wave Journal Vol. 1 - Complete

Machinations - Big Music. 1985 White Label (LP). From a store in Pueblo (Oct). Nice Australian original of a New Wave album I was entirely unfamiliar with despite eventually obtaining a US release on Epic and being a hit. Not only is the title Big Music, but the band obtained the Kleenex effect by having an entire subgenre named the same as this album (though technically the genre is credited to The Waterboys). I enjoy this kind of New Wave, high energy and dance oriented. Nothing really grabbed my ear for repeated listens, and I have a few others like it in the collection, so not something I need to keep. But table stakes for genre fans I would imagine.

*Deutsch Amerikanische Freundschaft - Alles ist Gut. 1981 Virgin (LP). Also from T&R (Aug). Excellent thick sounding synthesizer and real drums. It's a Conny Plank production for certain. Vocals sort of drone on in German, reminding me a bit of Sepi Kuu (of all groups) which came to me after the second listen. Musically it's like a German reaction to America's disco. Robotic and repetitive. Kraftwerk is a necessary comparison, but DAF are more sinister in tone. I don't have anything like this in the collection so I'm keeping it.

A Certain Ratio - Live in America. 1987 Dojo (LP) (1985). From T&R sale (Jul). Intriguing album sounding something like a musical Throbbing Gristle. Live recording is a bit distant but I heard enough to think their studio albums might find a place in the collection. But will I find them as I did this?

Mike Rutherford - Acting Very Strange (LP). 1982 Atlantic. From the Showrunner's garage sale (Jul). Much worse than I thought it would be. All the Genesis members were hungry for pop stardom, but Collins proved much better at it.

---I bought a large 125 piece collection in July. Many were in this category. The ones below came from that. 

INXS - Shabooh Shoobah. 1982 ATCO (LP). I found myself enjoying The Swing, but the later titles haven't done much for me. So I thought the album prior would have more positive results. A little bit yes, but still nothing I feel compelled to keep. They need something - more energy maybe? (Aug)

Duran Duran - Notorious. 1986 Capitol (LP). Disappointing 4th album, even less so that Ragged Tiger. Misses all that was great about their first two albums. Just boring 80s pop music. (Aug)

*Talking Heads - Remain in Light. 1980 Sire (LP). I'm not convinced this is one of the greatest albums of all time, but I do find it intriguing enough to keep for now. It's non-commercial in nature yet maintains wide appeal. I suspect this is a kind of gateway drug to the experimental for many people, and so it's exposure allows for early epiphanies. When these folks discover other like minded people are out there - in fact it represents a majority - the momentum builds even greater. Then it appears they cannot rush fast enough to carve out their slice of how great it is, even if it may not be. Time and place remains one of the primary reasons for an album's adulation. (Jul)

Talking Heads - Talking Heads: 77. 1977 Sire (LP). As noted with their follow up, More Songs about Buildings and Food, Talking Heads were considerably ahead of their time. This debut underscores that. Which doesn't necessarily translate into a more pleasurable listen for me. In fact, a bit less. I didn't take notes, but I also heard a couple of their less respected mid 80s albums, and those are more generic and even less to my taste. (Jul)

Devo - Are We Not Men? 1978 Warner Bros (LP). I don't think Devo is going to be my artist of choice. This is their influential debut, and it's here they create their iconic sound. Innovative for its time, though not my style really. (Jul)

Devo - Shout. 1984 Warner Bros (LP). By this point, Devo sounds like every other synth pop band, and are pretty far removed from their unusual arty stance of the past. (Jul)

---end of sale

April - Magical. 1990 Metropolitan (LP). This was from that big haul that I mostly documented in the soul and fusion journals (Jun). April Kelly was a girl on the rise as the 80s closed. Her music is called Freestyle, but she sounds a heck of a lot like Madonna to me. And has the look too. At first I quite liked this high energy dance styled music  But as the tunes wore on, they all sounded the same (just like with Kon Kan). I would say it's average for the style. Rare album at least.

Kon Kan - Move to Move. 1989 Atlantic (LP). Estate sale pickup (Jun). Same day but different sale than the Flock of Seagulls buy. At first I found myself enjoying the high energy dance music, but as it wore on, it's too much of the same thing. In fact the album comes across as dated for 1989, copying what occurred throughout the decade with synth pop, but it was time to move on.

A Flock of Seagulls - The Story of a Young Heart. 1984 Jive (LP). Cheyenne Mountain estate sale pickup (Jun). A Flock of Seagulls' third album sees the band maturing, but not as much fun. It's better than its reputation but it is kinda dull in the end.

---The next entries are from a large amount of albums that I bought at the last Colorado Springs Record show (May) from an Australian guy who happened to setup next to me at the last show.

INXS - Kick. 1987 Atlantic (LP). My thoughts here echo what I said about Listen Like Thieves. It's a very ordinary pop rock record and misses the vibrancy of The Swing. The big hits from this album I do like such as 'The Devil Inside' and 'Need You Tonight' but mostly this is blandola. (May)

Talking Heads - More Songs about Buildings and Food. 1978 Sire (LP). Talking Heads were a very prevalent band during my high school years of the early 80s, but they were already well known by the late 70s. I don't think I've ever given the band enough credit for how different they truly were in their era. This is miles away from the generic AOR being pushed down our throats back then. It's a no wonder they were pioneers of New Wave. This is a very good album, with various world music influences, but not enough for me to hold onto. I feel like one of their albums is going to make it though. Been at this "digging in the wilds" thing for 5 years now, and this is the first Talking Heads for me to find. They get snapped up quick, or you pay full price at the record store. The latter is what will happen when they buy this from us. :-) (May)

XTC - English Settlement. 1982 Epic (LP). Single album version, though I can't imagine the double swaying my opinion much here. XTC are one of those 80s bands I thought I missed back then. But so far all I hear is ordinary pop music. Seems I might like their earliest work best. (May)

Wham! - Make it Big. 1984 Columbia (LP). Well it doesn't get any gayer than this. As a straight guy, I do have to admit to wishing I looked like George Michael back in the day. Can you imagine the selection of girls I would have had? This is where I get religion, as you can also imagine the amount of trouble I would've gotten into. Thank you God for protecting me from myself. The only song I know from this is 'Closest Whisper' which is a very fine smooth jazz pop number. But it's not really representative. Much of it is showtooney Broadway styled brash pop, which goes hand in hand with the culture. Not for me. (May)

New Order - Brotherhood. 1986 Factory (LP). New Order are one of those bands that I probably know better than I think I do. Their beginning was after Joy Division broke up after the suicide of their lead vocalist. All the same, I hear this as "just one more" 80's album. I didn't recognize anything from it, and that seems to help when analyzing albums such as this. All good, but nothing more. (May)

Pet Shop Boys - Please. 1986 Parlophone (LP). First UK pressing. This is the first one up from the sale I mentioned above. Like Dead or Alive below, this is one of the more iconic releases from the gay synth pop movement. I always liked 'West End Girls' and there's a few other tracks here I enjoyed. But I have enough representative albums of the era, so this one can go. (May)

---end of sale

Dead or Alive - Youthquake. 1985 Epic (LP). The next three albums come from a buy at an antique mall (Feb), all priced way below market. Youthquake is about as representative of the 80s synth-pop dance culture as any you can possibly name. OK boys, get out your eyeliner! Music like this was the exact opposite of what I was into in 1985. Today I hear it as an encapsulation of the era in which it was released. Highly melodic, well composed, and very danceable. 

Bangles - Everything. 1988 Columbia (LP). Bangles are one of those bands I find myself rooting for, but I just can't get into them. Their first two albums fell a little short of acceptance, but Everything - their 3rd effort - falls into the disappointing category. Straight forward begging-for pop hits and nothing more. Throw out 12 (12!) three to four minute boring tracks and hope for the best. Not for me. (Feb)

Berlin - Love Life. 1984 Epic (LP). This is the second time for me to try for this, the other came from the large collection buy in 2019. I've warmed up to their second album Pleasure (and this seller also had the rare small label pressing of that album that I picked up for the collection), so I thought maybe I'd feel similar about their 3rd release. Nope. It's a hair better than the Bangles' junior year offering, as there were a couple of decent instrumental moments. But otherwise they wasted Terri Nunn's hypersexuality to produce a rather safe New Wave album. Average at best. (Feb)

* - Keeping for the collection

2024 Funk / Soul Journal Vol. 3 - Complete

Aura. 2011 Lion (LP) (1977). Collection revisit (Nov). Aura were a funk band from San Francisco that released this one very rare LP before disappearing. It mostly falls to the female sung soul side of the equation, though the organ and psychedelic guitar go a long way to enjoying it at a Funkadelic level. Melodies are nice and I appreciate the horn charts. There's nothing earth shattering here and the LP reissue offers nothing else, so I can let this one fly.

Foxy - Party Boys. 1979 Dash (LP). From the Austin Record Show last year (Apr 2023/Aug). It's sealed so I decided to check it out online to see if I wanted to keep/open it. Naw. Even with my new found appreciation of disco, this title is fairly average despite Airto's involvement. Mostly disco with some funk, but 100% dedicated to the dance floor. 

Johnny Pate - Shaft in Africa. 1973 ABC (LP). Thrift shop find (Aug). Solid funky soundtrack with The Four Tops providing the songs. Lacks the monster tracks that Isaac Hayes brought to the original though the core sound is more appealing. All the same, it's still incidental music, and that diminishes the impact on repeated listens.

*Righeira. 1983 Teldec (LP). From T & R (Jul). Interesting release that is sung in no less than five languages: Spanish, French, German, English, and their native Italian. Righeira play in what is known as Italo-Disco which seems to have more in common with Kraftwerk than Chic. It makes for an interesting listen, and it sounds like there are plenty of good albums in this space. Not sure where Righeira falls, but I enjoyed it enough to keep it, since it's unique to my collection.

* - Keeping for the collection

2024 Folk / Country Journal Vol. 1 - Complete

Spirogyra - Bells, Boots and Shambles. 2005 Strange Days / Polydor (CD) (1973). Collection revisit (Dec). Third and last album from Spirogyra. An improvement on Old Boot Wine but not as satisfying as their debut. Mostly folk rock while the prog rock elements are fairly muted here. The opening cut offers the most interesting material. The lengthy closer isn't as exciting as hoped. It's one of those "good enough for 2005" CDs that just aren't taking me to the next level 20 years later.

Aigues Vives - Water of Seasons. 2004 Garden of Delights (CD) (1981). Collection revisit (Nov). My initial listen notes from 2006 stated: "On paper, and in practice, German folk albums sung in English are a dicey proposition. Unless they go the cosmic rock route like the Pilz acid folk bands such as Holderlin's Traum, Emtidi's Saat, or Broselmaschine, you probably can expect a schlager influence here or there. But Aigues Vives avoids the beer drinker plugs, and sticks to the extended complex arrangements that can make folk rock interesting. Nice flute, violin, and guitar leads. Not at the same level as Emma Myldenburger, but a nice discovery. " In listening to it again, I hear an odd strain of Quebecois styled prog folk here. A bit of Harmonium and other lesser known bands. Maybe the French reference goes beyond the band moniker after all. The instrumental sections are far more engaging than the vocal ones. Notably the album closes on a strong note. Kind of sneaks up on you. CD adds four bonus tracks from a planned 1983 album that never surfaced. Here Aigues Vives moves their sound further west to the British Isles. Comparisons to Gryphon wouldn't be incorrect, including their progressive phase. Tempted to keep this one, but it lacks any major highs, so I will let it go.

Langsyne. 2012 Garden of Delights (CD) (1976). Collection revisit (Nov). Mostly an English sung folk album, but one with haunting atmospheres provided by the use of woodwinds and organ. There are shifts in tone within the compositions, giving credence to the progressive tag. I've seen reviews correlating Langsyne with the Pilz cosmic folk movement, but the vibes are different. The angst of Krautrock isn't present, though there are odd references to the esoteric late 60s American Greenwich Village folkies who morphed into the San Francisco scene. One can understand how such an extinct artifact would be highly collectable, though it's allure is limited to a narrowly focused group. CD offers no less than 15 bonus tracks. Strangely, despite the usual exhaustive documentation regarding the group and album, the provenance of the bonus tracks is covered in a simple sentence that they are from the 70s. While it offers good value for your CD expense, it's much more sparse and threadbare. Sounds more like a 60s John Fahey album on Takoma. This can go.

Mellow Candle - Swaddling Songs. 1993 Si-Wan (CD) (1972). Collection revisit (Sep). I've never been convinced that Swaddling Songs was a great album, but there are too many people I respect who hold this one in high regard. Looks like it's been 11 years since I last dove in, so I thought I'd give it one more try. Post 2018 has seen my musical palette expand dramatically. But unfortunately I hear this album as I always do: A pleasant folk rock album. It's not a case, as we often see, of pure folk masquerading as a prog album. It definitely has a rock component. But at this stage, after having owned either a reissue LP or CD for 30 years, I think I can safely move on here.

Dawson - The Other Side of the Hill / Lucky Stars. 19?? Celesta. From a thrift shop in Woodland Park (Jul). This one checks two boxes. Local grooves and seriously obscure. Dawson were from Aurora (or at least the label is) which is a Denver suburb. Not too many country songs start with an electric bass groove. It gets to country pop soon enough complete with some mean hoedown violin, a little bluegrass, and steel guitar. 'The Other Side of the Hill' is a heck of a lot of fun. 'Lucky Stars' has some Western Swing going for it. Looks like a 70s or 80s single, so a bit of retro going on here. 

2024 Hard Rock Journal Vol. 3 - Complete

The Michael Schenker Group - Assault Attack. 1982 Chrysalis (LP). From the Colorado Springs Record Show (Nov). I've enjoyed a nice reunion with MSG. Their debut is now locked deep into the collection, based on a strong nostalgic pull. The second album I was familiar with due to an old tape recording, and I enjoyed revisiting that as well. I did decide to part with it eventually only because it was largely a rewrite of the debut. Anything after that, though, will be new to me. And to Schenker's credit he did mix it up a bit on Assault Attack. Bringing hard rock veteran vocalist Graham Bonnet gave the sound a new tenor. The keyboards are in the background, but it's mostly organ which is curious. The production is solid, giving it a real oomph that hard rock as a genre calls for. The question remains - is it unique enough for collection space? No.

Uriah Heep - Abominog. 1982 Mercury (LP). Thrift shop find (Oct). The album prior to Head First and similar sounding. Many apologists out there proclaiming Abominog was a return to form. Not really. It does still have some of that trusty and dusty organ, but also plenty of period synths and a strong try for MTV airplay. Good for its era, but not at the next level like Saga (as but one example) were at this stage. More tracks like A1 and B4 would have helped its legacy.

*Badger - One Live Badger. 1973 ATCO (LP). Collection revisit (Sep). The biggest challenge this album faces is that of expectation. Tony Kaye of Yes + Roger Dean gatefold cover will do that. But it's not a prog album, rather a good jamming hard rocker. Kaye's organ and mellotron contrast nicely against Brian Parrish's lead guitar. Even Peter Banks took a lot of Yes with him to Flash, but no such luck with Kaye. With five of the six tracks totaling between exactly seven and eight minutes, this allows the group to flesh out their jams without exhausting them. Not exactly a unique sound for the era, yet had this been an obscure UK or German band, the album would sell for hundreds today. The hidden star here is Parrish (real last name Morris), who had bounced around the Swingin' London scene throughout the 60s and early 70s. Badger would appear to have been his big break but it wasn't meant to be. He tried for solo stardom in the mid 70s and then basically disappeared for about 20 years. I'm sure there's a story there. 

Def Leppard - Adrenalize. 1992 Mercury (MC). Back to my buddy's garage sale here in town who had all the tapes for a buck (Sep). Admittedly I was a bit of an apologist for Pyromania, preferring nostalgia over quality. Adrenalize is two albums on from that and oh boy, is this bad. We're talking crawling around on the floor hoping to find a few pennies to ultimately buy a bottle of cheap whiskey. They want the middle 80s back so bad. That time was in the rearview mirror and so was this kind of tired pop music guised as hard rock. Pathetic.

* - Keeping for the collection

Top original LP scores of 2024

A bit showoffy I suppose, my Protestant upbringing constantly reminding me to be humble. But what the heck, I want to play too! :-) I posted this on Instagram, but I'll throw the photo in here as well.

2024 Prog Journal Vol. 3 - Complete

Sezione Frenante - Metafora di un Viaggio. 2014 Ma.Ra.Cash (CD). Collection revisit (Dec). Sezione Frenante are one of a handful of groups who performed live in the 70s before disbanding without any recorded output, only to reform in modern times and release one album or more. The returns are mixed on these bands, some having adapted better than others. Sezione Frenante sits in the middle of these type of groups. On the one hand they do have those impressive breaks that makes the genre so special. And it's prog rock all the way, no silly attempts at pop stardom. On the other, there's this nagging feeling they relied too heavily on modern instrumentation and production techniques. One starts to wonder "what could have been?" in their initial incarnation. As I immerse myself deeper into the contents, I hear a strain of neo prog that I hadn't noticed before. Which isn't necessarily a bad thing in my world. Fortunately they maintain the Italian language (and sung very well by newcomer Francesco Nardo) keeping it out of the Genesis clone discussion. Gosh, if I already didn't own shelves full of this kind of prog from Italy already, I'd keep this. But downsizing is in full force, and this one never resonated with me at any level except academically.

Hopo - Senti. 1992 Anthology (1982) (CD). Collection revisit (Nov). As noted on the Mo.Do. post, the amount of progressive rock albums coming from Italy were almost non existent from 1978 to 1986. Senti is one of the rare albums to get out, and you can tell there was no "movement" left in Italy for a group such as this to build and learn upon. The album opens with a synth pop number, pretty good for the style, but irrelevant to rest of the album. Otherwise it's classic Genesis styled prog with plenty of homestyle cookin' like PFM and the rest of them. Overall it's fairly simple and amateurish. One of those their heart was in the right place, but they weren't quite ready for prime time. The longest songs (2 and 6) are also the most interesting. Bonus tracks are essentially a live concert of the same music save one track called 'Mister Rock' which is about all you need to know there. No variations on a theme, and the recording isn't great to begin with. Overall a fine work, especially for its time in history, but Italy has so much more to offer.

*Pocket Size Sthlm - Immortality: Cleaning the Mirror Volume 2. 2018 Mill Hill (LP). Collection revisit (Nov). Pocket Size is a band that I got in on the ground floor with and dutifully documented their first two albums enthusiastically. A year after the release of this album, their 3rd, Peter Pedersen reached out to me direct to see if I was interested in purchasing the LP's since he was going to be in the USA. I said sure, and I ended up grabbing all three. The CDs of the first two are just small slip cases, so I included them with the LP's of the others. He was also going to send me the CD of this title, but he forgot I think. No big deal. In any case, my initial reaction to this album wasn't as positive as the other two, and I didn't take any notes. So now some five plus years later, let's dive in. The album was recorded live in 2016 in front of what sounds like four people. As with their other albums, this isn't a solo endeavor but rather a full band effort. An early 70s instrumental prog mixed some space rock jamming is what you can expect here. There's a touch of the jazz rock style as well. I think this may have been one too many cleaning the mirrors for me. Not getting the same vibe as I did out of the other two. Also not very Swedish, more generic in terms of region.

*Bo Hansson - Music Inspired By Watership Down. 1977 Sire (LP). Picked up for $5 at a record store in Albuquerque (Nov). This is one of those albums I'd heard back in college in the middle 80s, liked it, but never bought a copy for myself. I could say that about all of Hansson's catalog actually, only picking up Magician's Hat recently. Hansson's style of highly melodic organ based instrumental progressive rock has really aged well for me. Classic Mike Oldfield seems to be more of an influence than prior, especially considering the electric guitar presence, and that can only add points to the score. The guitar, incidentally, is provided by none other than Kebnekaise legend Kenny Hakansson. The album was released in Sweden as El-Ahrairah. 

MediaBanda - Dinero y Terminacion Nerviosa. 2007 private (2xCD). Collection revisit (Nov). MediaBanda's second effort (post Fulano) is an overwhelming 90 minute work filled to the brim with ideas. One has to admire the sheer will to produce such an opus. The music ostensibly belongs to the avant-prog genre with its quirky and densely written charts. High pitched female vocals, often wordless, point to the Cos / Northettes school of Canterbury. The music is mostly of a happy nature, and there's clearly a tilting towards jazz here (especially on 1.6), smoothing the clinical edges that avant-prog usually brings. With so much time at their disposal, MediaBanda gave into the temptation to experiment recklessly in the studio, providing plenty of uncomfortable listening moments (1.4, 2.6, parts of 1.6 and 2.1). Seems to be a typical reaction by avant-prog bands that sense they may be too uptight, and so they go too far the other way and completely relax any kind of musical standard. Better off just doing a heavy psych jam really. The only real curveball here is the final track which starts out in Eddie Van Halen mode before launching into a complex hard blues rock number, sounding more like Present than Miriodor. Overall, as I've mentioned many times prior, admiration is not the same thing as appreciation. I know academically this is a well crafted effort. Doesn't mean I necessarily want to hear it though.

*Artsruni - Cruzaid. 2002 Musea (CD). Collection revisit (Oct). Right from the first few notes I was reminded of Asia Minor, a band with roots from nearby Turkey (historically speaking, probably not a welcome comparison, but if music is the language of peace, perhaps it is). Flute and guitar lead the instrumental parade, with the former providing most of the melodies. Artsruni is the last name of the guitarist, and his style pulls away from the 70s and brings in a modern sound, including pig squeals. Perhaps to its detriment. Other guideposts here would be Solaris and, of course, Camel. Fascinating booklet that details the rise of Armenia and its ties to the Crusades and Christianity. Mostly lost, no doubt, to the pagan West audience the CD was sold to. Unfortunate.

*Anacrusa - Fuerza. Rayuela (CD) (1979). Collection revisit (Oct). An unusual conclusion from this fine Argentine band. They started their career primarily as an indigenous folk troupe and eventually emigrated to France. While there, they added more rock elements to their recipe, giving them a progressive rock and world fusion flair. Fuerza takes this concept even further and adds orchestral touches. Given their highly melodic structure to begin with, along with Spanish female vocals, the album sounds more like something Burt Bacharach or Sergio Mendes might come up with. But with odd bursts of psychedelic guitar, making the music that much more intriguing. In reflection, there really isn't a comparison for Fuerza. This uniqueness makes it a collection mainstay. I did originally own the Argentina LP of this but sold it off many years ago when the CD came out. This CD is sketchy at best, but suffices for what I need from the album at this late stage.

New Triumvirat - Pompeii. 1977 Capitol (LP). From the Rocky Mountain record show for one dollar (Oct). I remember being offered this for a couple of bucks back in college in the 80s, but instincts told me to avoid. Now it's depreciated half from that large sum, and so why not try it? And my instincts proved correct - again. The first side seems like a rewrite of ELP's Trilogy with emphasis on the lesser ideas from that album. Side 2 is better and has a couple of compositions mixing in fusion to its advantage. But they are fleeting. Then there's the awful balladry, not even close to playing to their strength. I guess I'd still say it's a good album, but I don't see any reason to go past the first triumvirate of Triumvirat albums.

Jethro Tull - Songs from the Wood. 1977 Chrysalis (LP). From the Stanley record show in Denver (Oct). Still catching up on Tull albums I missed in my past. This album has a very strong reputation, and in fact RYM rates it higher than any Tull album except Thick as a Brick and Aqualung. According to the current ratings, it's only a hair better than Stand Up and Minstrel in the Gallery. I just don't hear it. To me this is very much a folk rock album with scant evidence of the prior Tull sound. It starts out fine, but there are many stretches of pure folk rock. Which by itself doesn't mean it's not of a high quality, but it certainly moves away from my interest area.

David Cross - Testing to Destruction. 1994 Red Hot (CD). Collection revisit (Oct). This CD was one of those recommendations from Audion back in the day and I probably picked it up via their Ultima Thule mail order channel as well. Every few years it floats its way to the bottom of the stack, and I hear just enough each time to keep it. Never took any notes for no good reason other than my usual laziness. Now we're eight years on from that last save listen, let's see if things improve. Cross is an interesting character in that he's most known for his violin work with King Crimson in the early to mid 1970s. Then he mostly disappears and doesn't get his solo career going until he's in his mid 40s. One that continues to this day, even though he's about 76 years old. So for a guy who was in his middle age, Testing to Destruction showed he still had a lot of energy to burn. This isn't some low key instrumental album nor is it a pathetic play for a long forgotten radio style. It's an aggressive form of jazz fusion, not too far from those groups Michael Shrieve was playing with in the 90s, especially his collaborations with Shawn Lane. Djam Karet would be another reference. There are odd vocals here and there, only to confuse things it seems. For the era in which it was released, getting anything like this from a former "Big UK prog band" member was something to celebrate. But a clean sober listen reveals not that many great ideas, and lots of experimentation looking for a trademark sound. One he could not find here. Sure it's very good, but it's not next level. Time's up for Testing to Destruction at Casa UMR. Almost made it 30 years here though.

Attila Kollar - Musical Witchcraft. 1998 Periferic (CD). Collection revisit (Oct). As noted on UMR prior, I find Solaris one of the greatest of the 80s and early 90s progressive rock bands. And it was only last year that I revisited Musical Witchcraft II which enjoyed a +1 listen. So going into my revisit session with his solo debut, I figured this would be a perfunctory listen and up the rankings the album would go. But that wasn't the case. Much more sterile than his follow-up, and one can notice some of the pitfalls of Nostradamus showing up here as well (both were released near the same time). The compositions don't possess the usual magic (so to speak) that Kollar usually brings. Given that his second album was much more accomplished it appears he recognized the flaws here as well.

* - Keeping for the collection

Quantum Fantay ~ Belgium

Oneironauts (2024) 

I keep saying I'm not going buy new albums in styles I already have well covered in the collection, especially by bands that I own eight albums from already. But I was in the right mood, and Quantum Fantay were one of the highlights of the last decade, so why not order one more on last call? Besides it's been five years since their last album, telling me they might be more energized and creative this go round. Interestingly enough they open the album just as they did on their last Yemaya Orisha, where I stated: "The opening title track could be considered "typical" (but still very good)". What I mean by typical is their patented Ozric Tentacles interpretation of space rock. Though unlike the prior album, they didn't open the flood gates on the second track. At times I felt the music to be too formulaic. But as the music kept spinning, my head continued to bob and I found myself getting immersed into their fiery brand of space rock. The title track even borrowed a couple of riffs from the almighty Bridges of Kukuriku. Quantum Fantay are to be credited for keeping their compositions from wandering off into the weeds, and always keeping an eye on melody. The elaborate ornamentation of sequencer based electronics and synthesizers space gazing add the proper atmosphere. Rhymically, Quantum Fantay often move beyond 4/4, and get complex at times. Such a great band really. Will this be the last album I buy from Quantum Fantay? I say yes. But that's what I said last time (two years to the day, in fact). 

Ownership: 2024 Progressive Promotion (CD). Acquired in 2024.

11/24/24 (review)

Yemaya Orisha (2019)

Quantum Fantay proved to be one of my favorite bands of the 2010's, perfectly capturing everything I like about the Ozric Tentacles sound. They filtered out the reggae and lengthy ambient pieces, while going for the throat on high octane space rock. Yemaya Orisha is their 8th, and to date, last studio album. I've captured six of the prior seven already here on UMR. By now I just have too much of this kind of thing, and I'm weeding some out. But I'm not sure though if any of the Quantum Fantay's will be touched. The opening title track could be considered "typical" (but still very good) and I was thinking this may have been one purchase too many. But 'Mami Wata' packs a wallop, and hits all their trademarked qualities: Ferocious guitar chords, flute melodies, synthesizers galore, and insane rhythmic work. They maintain this pace on 'Riddles of the Sphinx'. By now the last two tracks could be country and I wouldn't care. But of course they're not - just more Quantum Fantay goodness. It's likely I stop here with the band (nope - see above) - presuming they continue - unless it's essentially given to me. But what a run they had for 15 years.

Ownership: 2019 Progressive Promotion (CD). Triple fold-out digipak with excellent digital art. Acquired in 2019.

7/12/19; 11/24/22 (review)

Dancing in Limbo (2015)

Quantum Fantay have always been a Masters Class course at the Ozric Tentacles University. And on their 6th studio effort, Dancing in Limbo, yet another thesis has been proposed and accepted. So much so, that the professor himself - one Ed Wynne - even guests on the album! If you're the sort that appreciates Ozric Tentacles most in full blown space rock mode with fiery guitar solos and fluttering flute, meanwhile constantly twisting and turning with jumpy rhythms, then Quantum Fantay will certainly blow your socks off. I'm of that sort, and my socks are missing. Dancing in Limbo earns Quantum Fantay yet another "A".

Ownership: 2015 Progressive Promotion (CD). Acquired in 2015.

11/4/15 (review)

  

Terragaia (2014)

So exactly how would Quantum Fantay follow up the brilliant Bridges of Kukuriku? It would take four years to find out, but the band has finally reappeared with Terragaia, and the CD (that's right - a CD - remember those?) is housed in a fine triple fold out digi-pak. I would say that Quantum Fantay have found themselves back to their roots of Ozric Tentacles' inspired space rock. Unfortunately, there aren't any of the hair raising, head turning moments of the last two albums to be found. However, let's not get carried away and start pointing fingers as if this is some kind of failed effort. Hardly. The music here is as brilliant as Ugisiunsi, but with a distinct Middle Eastern and Chinese theme running throughout the melodies (and some snippets of Caribbean and Celtic music too). There's so much to admire about Quantum Fantay in the studio - and their variation of the Gong's You era is as fine as anyone as ever realized, including Ozric Tentacles themselves. So what you have is the usual fiery guitar solos, flute overlays, bubbling synthesizers, and hyperactive rhythms that you expect - and want - from the genre. Quantum Fantay are money, man.

Ownership: 2014 Progressive Promotion (CD). Acquired in 2014.

6/27/14 (review)

 

Bridges of Kukuriku (2010)

I've been a fan of Quantum Fantay since their first album. All are very good variations on the Ozric Tentacles sound. But I wasn't prepared for the greatness that is Bridges of Kukuriku. Everything about this album is exponentially better than prior efforts (and that's saying something). Whether it's the production (listen to the panning from speaker to speaker as if Dieter Dirks himself took the controls), the instrumental interplay (crisp and tight), the energy level (extremely kinetic) - or just the general exoticism surrounding the compositions. And this has real melodies, something you can actually latch onto and remember, rather than just a technical exercise in musical theory. The amazing transition from 'Follow the Star' (track 2) to 'Shiver Moments' (track 3) and the subsequent blitzkrieg of said track practically gave me a stroke. Music like this is truly exciting, as you never know what will happen next, and yet it still rocks hard in a psychedelic way. Ozric has never come close to fully realizing an album like this. We're in the rarefied territory of those Finnish groups Hidria Spacefolk and Taipuva Luotisuora. This album is absolutely brilliant and will most certainly be considered one of my personal favorite albums of the entire 2010 decade.

Ownership: 2010 Bassick (CD). Acquired in 2010.

12/29/10; 9/14/12 (review)

  

Kaleidothrope (2009)

After the great success of Ugisiunsi, Quantum Fantay return with Kaleidothrope...  ...and serve notice that they are serious and are here to stay. The jumpy sequencers, fluttering flute, hyperactive rhythm section, and - best of all - pyrotechnical psychedelic guitar work, are here in abundance. All of this while never forgetting that melody is truly important to a great composition. Not to mention the constant shifting of themes, meters, and dynamics. Final track 'Telepathy' is a monster and needs to be heard by all. And to think they would actually improve on their next album. Wow! If there's a criticism of Quantum Fantay, it's that they veer too close to Ozric Tentacles. And while that may hold true, one should know that it's more like Ozric extract: All the good stuff is filtered in while leaving the chaff out.

Ownership: 2009 Shiver (CD). With DVD. Acquired in 2010.

2010; 9/14/12 (review)

  

Ugisiunsi (2007)

While the debut Agapanthusterra could be considered another Ozric album, the sophomore effort Ugisiunsi utilizes to a greater extent other music vehicles like flute (in more abundance than the debut), sequencer based electronics, and haunting wordless female voice, thus adding color to the usual guitar / keyboard rave-ups. The guitarist (from Srdjan 'Sergio' Vucic, in his only stint with the band) adds some metal crunch at times, recalling the Dutch group Kong. And the solos are Ed Wynne-esque in their intensity. Like Hidria Spacefolk (Finland), Quantum Fantay also display a penchant for progressive rock themes and complexities – something that Ozric did more frequently in their past with songs like ‘White Rhino Tea’. Tracks like 'Snowballs in Ghostlands' show Quantum Fantay were capable of writing beautiful melodies as well - moving beyond the usual "if you can't find it, grind it" mentality. At this point in their career, Quantum Fantay looked to be a major force in the space rock circuit. And as it turns out, they ended up being just that.

Ownership: 2007 Pete's Mushroomland (CD). Acquired in 2008.

2008; 9/12/12 (review)

  

Agapanthusterra (2005)

Agapanthusterra is Quantum Fantay's most Ozric Tentacles-like album - right down to the reggae bits. That said, the compositions are entirely unique and offer one more perspective of an already great formula. On this debut, Quantum Fantay were a four piece with synthesizers, bass, drums and flute. Guitars were performed by a guest of the band (who would later join as a full time member on their 3rd album Kaleidothrope), but despite this designation his participation here remains a centerpiece to their overall sound. Best tracks are the heaviest rocking pieces 'Lantanasch' and 'Chase the Dragon'. Worth noting that the final track 'Amoevha' is hidden and not listed on the CD itself.

Ownership: 2005 Pete's Mushroomland (CD). Acquired in 2008.

2008; 9/11/12 (review)

Also own Tessellation Of Euclidean Space.

9/11/12 (new entry)

Kennelmus ~ USA ~ Phoenix, Arizona

Folkstone Prism (1971)

Folkstone Prism is one of the more unusual albums coming from the American underground, and that's quite a statement considering the competition. Side 1 is something special: An instrumental mix of Can and The Beat of the Earth baked into the 120 degree Arizona desert, then cooled into a Morricone soundtrack for a Clint Eastwood 60s western. Highly melodic, yet very psychedelic. The instrumentation is all underground sounding, including organ. Essential listening.

The B side is more problematic, though no doubt it's just as unique. It's a mix of vocal folk psych numbers containing some cartoonish vocals with instrumental interludes that King Crimson might come up with. The final track is its own thing, more of a hard psych composition and some narration of Edgar Allan Poe.

A tough album to evaluate given its inconsistent nature, yet anything this different deserves a place in a well researched collection.

Ownership: 1999 Sundazed (CD). Booklet contains historical essay, photos, and recording details.

1999 (first listen); 6/24/15; 11/20/24 (review / new entry)

Clark-Hutchinson ~ England

A=MH2 (1969)

It's always an interesting phenomenon at what point you hear an album. I bought this CD new at Other Music in New York City near the time of release. I really didn't have a point of reference at that time. On first impact, and later listens, the music of Clark-Hutchinson was entirely unique to me, though not excessively enjoyable to my ears. On this revisit I heard the sound of Gabor Szabo via an eastern Indian psychedelic lens. Perhaps had this been a jazz release on Impulse, its historical acceptance would be more widespread. An interesting perspective I hadn't thought of prior. Now that I have a different foundation, maybe not truly accurate but who cares, makes me appreciate the album at a much higher level. To ponder.

Ownership: 1998 Repertoire (CD). Booklet includes historical essay and recording details.

6/8/99 (acquired); 6/30/16; 11/20/24 (review)

11/21/24 (new entry)

Roland Kovac New Set ~ Germany

Love That (1972)

What does Oblivion Express, Vampires Sound Incorporation, Embryo, Sincerely P.T., and Amon Duul II have in common? Roland Kovac. An otherwise ordinary library incidental music composer put together an A-list of underground jazzers to create a very haunting Krautrock album. I use the latter term carefully as the atmospheres created here belong just as much to that genre as it does to jazz rock. Brian Auger is the star here, with his trademark organ all over the recording. But he's not playing in his usual melodic fashion. And Siggi Schwab's well placed fuzz guitar really cements the aura of 1972 Germany. The only diversion here would be 'Sivertime' which is a somewhat ordinary organ soul jazz piece. Kovac is credited on piano, but he doesn't appear to have been sitting in the recording sessions. But he did write all the music. While this was originally intended for TV / movie incidental background sounds, the tracks are way too developed for that and work better as a cohesive album. These are not sketches of ideas.

Despite having heard this CD four times prior, I had no memory of the music. It's certainly not catchy but it is pleasurable. I hadn't given it the proper focus prior.

Ownership: 2002 Garden of Delights (CD). Full historical liners, typical of the label. Interesting to note that GoD defended themselves for not putting both Kovac albums on one CD, saying that "serious collectors" would find that "appalling". I disagree with that assertion. Serious collectors would likely find CD reissues appalling in the first place. For me, who I consider a serious collector, a two album / one CD package would have added that much more personal value to the package. I eventually will be in a position to hold onto one or the other - likely The Master Said. But that's for another day. This CD has space for some time. Acquired in 2007.

3/31/07; 2008; 12/14/10; 4/22/16; 11/12/24 (review)

Also own and need to review The Master Said.

11/12/24 (new entry)

2024 Psychedelic / Garage Journal Vol. 3 - Complete

The First Edition. 1967 Reprise (LP). From a store in Pueblo (Oct). Fine popsike from Kenny Rogers' first band. Safe and harmless psych with a couple of underground moves to attempt street cred. No chance. Good Housekeeping would approve. Second tier Mamas and Papas essentially. Not a sound any rational person would associate Kenny Rogers with. Gotta start somewhere.

Wolf People ~ England

Tidings (2011) 

---3/30/11

Tidings is a compilation of singles, with nicely done artsy interludes, and is more geared to late 60's psych similar to Gary Ramon's Sun Dial project (especially Other Way Out). Wolf People have truly captured the essence of another era, and aren't just a retro copy band. Definitely start with Steeple though.

---11/11/24

This was my second encounter with Wolf People after Steeple, and both were relatively new at the time. As noted below, two albums later came Ruins which I think is one of the greatest albums from the last decade. And sadly they haven't released anything since though it appears they are still around. But one can hear their trademark sound here on Tidings. This is an odd release as it compiles two of their singles from 2007 that appear to have been also issued on cd-r in 2006. Discogs calls them a psychedelic folk rock band, but I would never associate folk rock with Wolf People. However one can hear that strain on Tidings, so it's not inaccurate. This album had fallen to the bottom of the rankings, but I was certain not to let it go given my affinity for their three fully realized works. The album provides historical context for this great band.

Ownership: 2010 Jagjaguwar (LP). Acquired in 2011.

3/30/11 (notes); 11/11/24 (review)

Ruins (2016)

It must be the thing to do. What's that you ask? Oh, well if you're a band that had enjoyed recreating the UK styled 1971 proto-prog experience, then you have now moved on to the psychedelic era. Blood Ceremony, Purson, and Syd Arthur all had previously done something similar earlier in the year. The former two went back in time, whereas the latter went forward, but all within the confines of what we constitute as "psychedelia". And for my tastes at least, all three of them took a step back in the quality department too.

Not so for Wolf People. Quite simply this is the best post 1968 UK psychedelic album I've heard, even besting Sun Dial's Other Way Out. Of course, no real album from 1968 would sound like this. Ruins represents the ideal of the 1968 Carnaby Street landscape. When listening to this album, you want to see girls in paisley mini dresses, white go-go boots, and stylish hats. And a lot of mascara.

Ruins opens with two blistering tracks in 'Ninth Night' and 'Rhine Sagas'. Only to lead into the album's pièce de résistance 'Night Witch'. I've never heard a song like this before. From a composition perspective, it sounds like one of the more classy NWOBHM bands (think Legend)... as played by Outskirts of Infinity. The song is melodic and memorable, and that which includes two of the most incendiary fuzz guitar breaks I've heard since Many Bright Things covered the Butterfield Blues Band's 'East West'. 'Kingfisher' is the closest Wolf People gets to their prog rock roots, though strangely it may be the album's weakest cut. Starting with 'Thistles' you realize the album will continue its staggering psychedelic quality. All the songs are well-written, not just exercises in guitar fuzz overload and effects. Along with 'Night Witch', the other bonafide monster track here is 'Not Me Sir' which has a slight Middle Eastern tonality. Overall, there's not a weak moment to be found throughout.

If the radio was a still a thing, then Ruins would be what I want to hear on it. Of course we know we wouldn't, but as mentioned prior, Ruins represents the ideal.

Ownership: 2016 Jagjaguwar (CD). Tri-fold digipak. Acquired in 2017.

4/1/17 (review)

Fain (2013)

For those who keep hoping that Transatlantic didn't release all of their tapes in 1971, then Wolf People gives one hope that such reel-to-reels may have been found. Except Fain was recorded in 2013. Don't tell the band though. It may depress them beyond recovery. So, in the end, Wolf People appear to be a cross between fictional band mates Stray, CMU, and even Gryphon. Perhaps Wolf People may want to go completely madcap and next try to emulate Jan Dukes de Grey and Marsupilami. Not sure even I could handle that - may need a heart surgeon nearby for an experience like that. I'll take what I can get. And encourage Wolf People to continue their odyssey through the deranged 1971 mindset. I can listen to stuff like this all day.

Ownership: 2013 Jagjaguwar (CD). Tri-fold digipak with lyrics. Acquired in 2013.

5/18/13 (review); 6/25/26

 

Steeple (2010)

Unlike Canadian label mates Black Mountain, there aren't any traces of modern indie or stoner sounds to be found on Wolf People. For me, they are one of the best retro psychedelic influenced progressive rock bands I've heard. The late 60's acid guitar tone is to die for. You can file Wolf People next to that other most excellent UK retro band - Diagonal.

Steeple peaks on the ultra freak-out 'Cromlech', which recalls UFO era Guru Guru of all albums, and is a complete monster in this setting. The flute on 'Tiny Circle' is a really nice touch, and I'd love to hear the instrument utilized further into their sound.

Ownership: 2010 Jagjaguwar (CD). Acquired in 2011.

2/14/11 (review); 9/10/18

2/14/11 (new entry)