Premiata Forneria Marconi ~ Italy

Jet Lag (1977)

Jet Lag is not the album that most PFM fans hold up as the best example from the band. Generally regarded as their move towards jazz fusion, there's some truth to the allegation, especially in the way the instrumental sections are structured. Side 2 in particular illustrates this. However Bernardo Lanzetti is still on board and he's certainly not content to stay quiet. So it really still belongs to progressive rock and isn't that far removed from the preceding Chocolate Kings. Violin, electric piano, and guitar are the primary solo instruments of choice.

Ownership: 1977 Manticore Japan (LP). With original Italian insert. Acquired in 2014.

3/6/14; 4/11/25 (review)
 

Chocolate Kings (1975)

On Chocolate Kings, PFM were moving on from their classic romantic sound onto a more heavy and English friendly approach. Of course to do that effectively, one had to drag along Bernardo Lanzetti (Acqua Fragile), as he appeared to be the only Italian who could sing in English. Or so it seemed back then. Personally I like his affected vocals, a bit like Roger Chapman. Great album as far as I'm concerned, though I agree it doesn't match their trio of brilliance released prior.

The original Italian pressing features an awful cover, so Asylum altered it for the North American market.

Ownership: 1975 Numero Uno (LP). Poster lyric insert. Acquired in 2017.

First copy: 1976 Asylum (LP). Acquired in 1986.

1986; 2005; 8/3/15; 2/12/22 (review)

Per un Amico (1972)

As strange as it may seem, I was already familiar with albums by Il Balletto di Bronzo, Jumbo, Celeste, Il Volo, Formula 3, and a few others before I heard the Italian language Premiata Forneria Marconi albums. Though they all happened very close to each other chronologically in my life. As noted in the Live in U.S.A. review, my first exposure to Italian prog in general was PFM's Cook, an album that was beyond my understanding at the time, and really isn't representative of the band's foundational roots.

Another quirk was trying to understand exactly what Premiata Forneria Marconi had released. I had some mail order lists - and many entries from Goldmine - a dizzying array of what early PFM might be. This album, Storia di un Minuto, Premiata Forneria Marconi (which I later guessed to be Storia di un Minuto), Photos of Ghosts, Cook, Live in U.S.A., L'Isola di Niente, The World Became the World, The Award Winning Marconi Bakery. I kind of threw my hands up.

Finally I found a copy at a record show, and knew it was something I didn't own - and needed to own. Now the picture is beginning to form. The album today is considered an all-time classic of progressive rock, regardless of the country. It's not a chops heavy release, nor does it feature the usual raft full of meter breaks. Quite simply Per un Amico is a beautiful album. There are few albums that can invoke peak experiences track after track. In particular, 'Il Banchetto' is stunning. Mellotron is a feature instrument throughout the album, along with acoustic / electric guitar, flute, soft vocals in Italian, and violin. Few albums capture the pastoral countryside of Italy like Per un Amico does. It's a timeless classic. Not to say it doesn't have its critics, most coming from the "show me what you can do" camp. That approach is not going to work with Per un Amico. Wait for the sunset, grab a bottle of wine, sit on a hill in the countryside, and view the village below. The music will provide all the color you need.

Also worth noting is that when we started the Gnosis Project in 1999, Per Un Amico quickly rose to the top as the best album. One year after this, an Italian newspaper - I wish I could recall which one, or had at least preserved the article (so shortsighted!) - noticed the same phenomena that despite being an American based project (though global in scope), the Italian prog albums (sung in Italian no less) had risen to the top. Such is the timeless nature of recordings like this. 

Ownership: 

1972 Numero Uno (LP). Gatefold. Acquired in 1988.

2003 BMG Japan (CD). Papersleeve gatefold. Acquired in 2003.

1988; 10/10/22 (review)

Live in U.S.A. / Cook (1974)

Truth be told, this was the very first Italian prog rock album I ever heard. Long before I truly "discovered" the scene, I found a used (and warped - much to my dismay later) copy of Cook for $1. It was 1984, and I had no perspective whatsoever to what I was listening to. Because the record was in bad shape, I didn't really form an opinion, and it would be another three plus years before I started deep diving. Once I did that, PFM surfaced quickly, and like just about everyone else, fell hard for their first three Italian language albums.

They were popular in Italy too, and started to gain a nascent worldwide following. ELP's Manticore picked up both PFM and Banco, and made a go at this potential fertile scene. One eentsy weentsy change: Gotsta sing in English fellas. And that was the Achilles' Heel, the music just doesn't blend the same. But at the height of their fame, Premiata Forneria Marconi managed to tour here in North America. The full concert has since been released (and to this day, I haven't heard it), and this record represents an extract of two distinct concerts - one in New York City and the other in Toronto. The first side doesn't offer too much, a typical run through of studio versions, though it's quite spirited, and 'Dove... Quando...' remains beautiful (wisely left in the native language). The allure here is the second side, where PFM shows their tremendous improvisational instrumental chops. Definitely a unique enough album to want to keep.

The original Italian release features a lavish booklet that is half empty - someone didn't pass their Scrapbook class! For certain, the original release has its quirks from a packaging / marketing perspective. For one, I'm rather sure Toronto was never part of the USA. Live in North America would have been the better title. In America the album was retitled as Cook, with a completely different package, understandable on a number of fronts. The back cover is hilarious, looking all the world like your typical smog filled 1974 New York City day. I encourage everyone to see a vintage episode of Kojak (starting with the second season), which was filmed on location in the same era, and compare. The crowd appears to be like a modern progressive rock gathering, ya know - about 40% full. And the audience looks like they all came up from Little Italy or down from the Bronx - word of mouth from the locals apparently. And it's sponsored by none other than Schaefer Beer. The ultimate example of what was later termed a "city beer", it eventually was gobbled up by other cheapy beer companies and now exists in name only with a different formula. In other words not exactly a Budweiser sponsored event, and one wonders if they even managed to get an ad spot in the New York Post, much less the Times. While pouring over the credits, I noticed Tony Harrington gets a Grazie Speciale. He would later form the All Ears label, America's first private label dedicated to progressive rock.

Ownership: 1974 Numero Uno (LP). With booklet as described above. Acquired in 2020.

First copy: 1974 Manticore (LP). Titled as Cook. Acquired in 1984.

1984; 1995; 1/19/22 (review)

Also own: Storia di un Minuto; L'Isola Di Niente

1/19/22 (new entry)

Golden Earring ~ Netherlands

Seven Tears (1971)

Seven Tears was already the seventh album by the famous Dutch group and yet they were still relative unknowns here in America. It would be another two albums and three years before they finally landed a hit with 'Radar Love'. In fact most of their albums weren't released here either, including Seven Tears (and that remains the case even today). So what does the 1971 version of Golden Earring sound like? Honestly like many of their Dutch progressive rock brethren of the day. Perhaps more towards hard rock or classic rock. The songs are eclectic with plenty of interesting progressions. Great guitar and flute with Barry Hay's distinctive voice. There's some early usage of Moog here too. I tend to prefer Moontan given my familiarity with it, but Seven Tears is in the running for my favorite Golden Earring album.

Ownership: Polydor Netherlands (LP). Later 70s single sleeve pressing. Acquired in 2022.

First copy: 2001 Red Bullet (CD). Acquired in 2002. Replaced with the above.

2002; 12/8/12; 2/5/15; 4/11/25 (review)

Cut (1982)

I always liked the song 'Twilight Zone' which seemed to revive Golden Earring. But that's really all that's here of interest. Fairly standard early 80s blandola.

Source: 1982 21 / Polydor (LP)

6/25/24 (review)

Switch (1975)

Ever since college, I've been curious as to what the Golden Earring albums sounded like after Moontan. This isn't what I expected. A rather mundane set of eclectic rock tunes without much consistency. Nor hooks. It does get better on Side 2, but only enough to take into the good category. Wasted opportunity.

Source: 1975 MCA / Track (LP)

3/15/24 (review)

Eight Miles High (1969)

For many years I had it in my head that their side long version of Eight Mile High was the best rendition out there. But not really. It meanders and features a long drum solo. 'Fraid to say but The Byrds' original is all one needs. I prefer the harder rocking tracks on the original side 1, but I didn't hear enough to keep this.

Former ownership: 1982 Polydor Netherlands (LP). Acquired in 1985; Reacquired and removed in 2023.

1985; 2002; 2/15/23 (review)

Other albums I own: Golden Earring (1970); Together; Moontan (both versions)

4/11/25 (new entry)

2025 Revisits of prior UMR entries Vol. 1

These are albums already reviewed in UMR that have been recently revisited. I'm in the process of consolidating individual albums into band pages, so that's what you will see when clicking on the link. As noted in last year's massive entry, I'll break these up for smaller consumption in 2025. Ten revisits seems like a good number.

Catch Up - Birth of the Second Life

Radio Massacre International - The God of Electricity

Tomsix - Soundbones

Phlox - Vali

Arbatel - Gamadion

Thors Hammer

Bonfire - Bonfire Goes Bananas

Krakatoa - We are the Rowboats

Arabs in Aspic - Pictures in a Dream

Praise Space Electric - 2 Leaving Demons

Lone Star ~ Wales

Lone Star (1976)

Lone Star have an image problem. Here in America when one sees the moniker Lone Star, they immediately think of Texas, and musically that of Southern or Country rock. However this Lone Star is from the land of Budgie and offer up a distinctly mid 70s proggy hard rock and AOR album. Their sound, ironically, does recall the North American acts of the day. Same period Triumph, Rush (short form), Boston, Journey, Styx, and a host of bands from the great Midwest is where you'll spot the sound of Lone Star. There is some Zep references as well. What I like about Lone Star is their ability to create seperation with a big fat riff in the midst of the song. Vocals are outstanding. They made it to a major US label, but just couldn't penetrate the competitive FM landscape of the era. Which is too bad, as they certainly had the talent, the right sound, and some great ideas.

Remains a cheap record. I pulled this copy out of a buck bin here in town.

Ownership: 1976 Columbia (LP). Acquired in 2025.

4/7/25 (review)

4/7/25 (new entry)

Dryewater ~ USA ~ Charlotte, North Carolina

Dryewater (1974)

Dryewater is a big time obscurity from Charlotte, North Carolina. Released in an era when the American hard rock scene had no guides or bellwethers. This is roadhouse rock n' roll, where some tracks are for dancin', others for drinkin', and more for thinkin'. Similar to the nearby J. Teal Band in that way. If a real A&R representative of a major label would just show up - then we'd get signed up immediately! But why would they leave the major media centers? Too much hassle to get there and there's nothing in the middle of the country to do anyway. Certainly no hookers and blow! Hence America missed out almost entirely on the mid 1970s expansive experience, perfectly willing to let England lead the way. Exceptions to Los Angeles and New York City, with the rare Chicago and San Francisco band making the Billboard play list. We'd finally get it right in the 80s with heavy metal, but just imagine if they were focused on the American interior in the mid 70s? You could expect a 500% return on what we got. A tragic tale that requires a dissertation for historical reflection and penance. Dryewater are yet one more victim of the broken dream. Perfectly legitimate quality proggy hard rock that was considerably better than what the majors were spitting out in 1974.

1/15/24 (review)

4/7/25 (new entry)

Thrice Mice ~ Germany

Thrice Mice! (1971)

Looking at my journals, it appears I've heard this album twice in the last 26 years, after procuring the LP in the early days of ebay. Here's my thrice listen then. I had it in my head this was more of a classically oriented prog band, but it's clear from the off that jazz plays a major role in their sound. The music on Side 1 is that of improvisational jamming, and doesn't really apex anywhere. Meanders along at its own pace. 

Side 2 is much better. Trippy vocals enter on 'Torekov' while offering some gloomy late 60s styled organ, and the rantings owe to a certain Doors influence. And finally the guitarist lets loose in Krautrock fashion with a ripping solo. 'Fancy Desire' continues on with a composition not that dissimilar from other German luminaries such as Ibliss, early Message, Out of Focus, and Altona. The latter is where two of the members landed afterward. This side propelled me to give a +1 on the rating.

Seems some folks aren't enjoying the gatefold cover. I like it myself. But then again I enjoy goofy covers such as this. The girl is cute (nice strap-up high heels too) and the mice are running free. But there's six of those critters, not three (perhaps 1 mice = 2 mouse). One for each member of the band? 

Ownership: 1971 Philips (LP). Gatefold.

3//99 (first acquired); 4//09; 4/4/25 (review / new entry)

Bang ~ USA ~ Philadelphia, Pennsylvania

Music (1973)

For the Mother / Bow to the King album I wrote: "This was pretty much it for the band. They released one more album, which appears to be far more commercial in nature." After all these years, I've finally heard the dubious 3rd album, after finding a cheap copy at the COS record show. And I fear to say that I agree with the low assessment appended to it. It starts out rather promising though. Still has some hard rock riffing and definite proggy flare, as noted by the mellotron use. But it seems the band had lost interest and the rest of the album is what I call "early 70s North American classic rock." It's a style that was popular then but hasn't really aged well. Slightly rural, based in songwriting, but without much skill in the melody development. Overall not a terrible album but rather average on the whole. Which is disappointing considering they were one of the American trailblazers on the hard rock front.

Source: 1973 Capitol (LP)

4/3/25 (review)

Mother / Bow to the King (1972)

Hot on the heels of acquiring Bang's debut, I now have secured their sophomore effort. Like two EPs sewed together as one, each headline title gets one side. Musically they are similar with the Mother side being slightly more heavy. Bang's second album does tone down the riffing a bit from the debut and Frank Ferrara doesn't go quite as much for the Ozzy pitch as prior. All the same, it's a solid hard rocker with more ideas than the usual bonehead early 70s North American fare. If you like one, you'll certainly enjoy the other. This was pretty much it for the band. They released one more album, which appears to be far more commercial in nature (see above for update). They also have an archival release that came out many years later.

Ownership: 1972 Capitol (LP). Gatefold

1992 (first listen); 4/2/23 (review)

Bang (1972)

Now we're talkin'! I had encountered Bang in my initial late 80s deep diving crate digging years, but they didn't resonate at that time. I was still either more prog or metal focused to appreciate vintage hard rock. Over the years, Bang's album has gathered a cult following among hard rock aficionados. And it's easy to hear why. Bang were from Philadelphia and were one of the very few contemporary bands to make a try at a Black Sabbath like sound. They're not quite as heavy but they have the same motif. Plenty of riffs and lead singer Frank Ferrara at times sounds eerily close to Ozzy. This really is a classic of the genre, and tough to score these days. 

Ownership: 1972 Capitol (LP). Green label.

3/4/23 (review)

4/2/23 (new entry)

Helmet of Gnats ~ USA ~ Connecticut

Sunday Drive [single] (2025)

Precisely one year later from Helmet of Gnats' last review, I'm checking out their next single 'Sunday Drive'. The track starts off in namesake fashion, with a pleasant ECM approach to jazz fusion. A Sunday drive indeed. Highly melodic and peaceful. The keyboard work is excellent and reminded me of The Franklin Street Arterial of all bands. Perhaps it's the New England connection. About halfway through guitarist Chris Fox enters, and ups the distortion a bit. Then around the six minute mark the Sunday drive gets mired in New York City traffic apparently. The music moves into funk territory and the guitar tone gets nastier. A wonderful progression! In that light, I'm thinking of Frank Marino on 'Poppy', which is about as nice a compliment as I can give. 

4/3/25 (review)

Nathan Deacon's Other Brain [single] (2024)

Helmet of Gnat's latest release is a lengthy seven minute track. Starting off more in electronic territory the music soon enough shifts towards a mellow Crimsonic type cyclical fusion piece. This eventually leads to the more comfortable sounds of common jazz fusion as one might hear in 1982 (they continue to move forward in time, though 40 years in the rear view mirror). Though the funky wah-wah bit at the six minute mark is a cool twist. Very nicely done.

4/3/24 (review)

Travelogue (2020)

I was recently in touch with guitarist Chris Fox, and he was kind enough to send me over a copy of Helmet of Gnats 4th and latest album Travelogue. I have notes on the second and third albums and there's a common bond between them. To cut and paste snippets from each:

"Their stock and trade is retro jazz rock/fusion, with Hammond B3 and electric guitar leading the way. Melody is front and center so this isn't a chops fest, just the way I prefer it. At times it sounds like Niacin with some spruced up psychedelic guitar leading the solo parade."

"As for style, I'm reminded of what Mandrill said about their music: "We were too prog for funk, and too funk for prog". Replace funk with fusion and you could make that same argument here."

The main theme on both of the above is that Helmet of Gnats favors melodicism over technique. And that shines through once again on Travelogue. You never have to sit through a chromatic scale shred fest, nor gymnastic rhythmic displays. Rather there's a natural flow of events to the compositions. While Timeslip refers back to the early 70s side of jazz rock, Travelogue comes in around 1977 or so. Fantastic synthesizer and other analog keys complement Fox's thoughtful guitar solos. The rhythm section is complex but not busy. Some of the warm bass tones are right out of the late 70s fusion cookbook. There are seven tracks totaling precisely 50 minutes. A full LP length, not too short where you are pining for more, not too much where it leaves you exhausted. Travelogue is timeless music, the kind that sounded fresh in the 70s and continues that way into the 2020's and most assuredly beyond. I've enjoyed all four of Helmet of Gnats albums to date.

Ownership: 2020 Ambient (CD). Trifold digipak.

3/30/24 (review)

High Street (2010)

For Helmet of Gnats second album I wrote: "Their stock and trade is retro jazz rock / fusion, with Hammond B3 and electric guitar leading the way. Melody is front and center so this isn't a chops fest, just the way I prefer it. At times it sounds like Niacin with some spruced up psychedelic guitar leading the solo parade. That reads like a great combination to me! If your tastes in fusion run towards the early 70s side of the continuum then Timeslip will most certainly satisfy."

And that most certainly applies here too. The concept is about the band members' childhood home street. There is something special about that experience and connection with the past. I have a very good friend from my old neighborhood (lived right across the street) and we've been friends for well over 50 years. We both are blessed with excellent memory capability so we can each recreate moments going back to our earliest school days of the early 70s.

This connection comes through in the music of Helmet of Gnats. As for style, I'm reminded of what Mandrill said about their music: "We were too prog for funk, and too funk for prog". Replace funk with fusion and you could make that same argument here.

Ownership: 2010 Ambient (CD). Digipak

2010 (first listen); 9/26/23 (review)

Timeslip (2004)

Timeslip is Helmet of Gnats second album, eight years after their debut. Here their stock and trade is retro jazz rock / fusion, with Hammond B3 and electric guitar leading the way. Melody is front and center so this isn't a chops fest, just the way I prefer it. At times it sounds like Niacin with some spruced up psychedelic guitar leading the solo parade. That reads like a great combination to me! If your tastes in fusion run towards the early 70s side of the continuum then Timeslip will most certainly satisfy.

For years I thought the album was self-titled, or simply known as II. But if you look carefully at the bottom front, you'll see the words Time on top, and Slip on the bottom, intertwined. I thought it was just a symbol, like you'd see on a door design. Haha.

Ownership: 2004 Ambient (SACD). Tri-fold digipak. 

7//06 (first listen); 7/28/22 (review)

7/28/22 (new entry)

Blue Oyster Cult (& related) ~ USA ~ Long Island, New York

Blue Oyster Cult were one of the very first bands I got into at the tender age of 13, much to the chagrin of my religious mother who didn't understand the allegory (not that I did either at the time, I just liked the music). Their material has held up well, and I own most of their classic albums. More updates will come eventually.

Mirrors (1979)

Mirrors was the first new studio album from Blue Oyster Cult after I had become a fan. Since my collection was still very small then, I found plenty to enjoy on the album. It wasn't really what I was looking for at the time, but I could explain it away. As more and more titles entered the household, Mirrors eventually became superfluous and I traded it off. Other than albums starting after The Revolution by Night, Mirrors was also the only classic era studio BOC I didn't have in the current collection. Found a minty one recently for cheap, so let's dig in for the first time in probably 40 years. It certainly isn't as bad as the low rating I had on it, though one can understand the disappointment. I was hardly alone in my assessment, and Mirrors remains their lowest rated album until the aforementioned Revolution album (according to RYM). Side 2 is the better half, and most of it is enjoyable. The first side isn't a total loss, though one wonders how they arrived at the suggestion that the title song was one of the treasures of the album. In any case, the one track here that is a fan favorite - and the one I loved at age 14 - is most certainly 'The Vigil'. It's really too bad BOC didn't pursue more of their proggy ambitions. They dabbled with it early in their career, and would later reference the genre every once in a blue moon. 'The Vigil' is one of the best tracks in their canon of work. Buck Dharma was at another level when penning this composition. It truly stands out on an album such as Mirrors, given that the rest of it is mostly commercial oriented. I wouldn't keep this album under normal circumstances, but the nostalgia pull here is huge.

Ownership: 1979 Columbia (LP). Reacquired in 2025. First purchased in 1979.

1979; 4/2/25 (review)

Agents of Fortune (1976)

Blue Oyster Cult's 4th album Agents of Fortune is where I first started with the band. If memory serves, Spectres was already out, but once I saw 'Don't Fear the Reaper' on the back cover at the local K-Mart, then I decided to fork over my hard earned lawnmowing money on the album. I was 13 years old and with my mom (not like I was driving yet), and she wasn't too keen on me buying it due to the Tarot imagery, but she relented. To this day, I still think Reaper is a 5 star track despite having heard it countless times over a 47+ year period. That's how good it is. And it's certainly the highlight of Agents of Fortune, though it would be for almost any traditional song based album. The only other "known" track here is 'ETI' a rather heavy piece for its era, and signals their next big hit with 'Godzilla'. B2 is the other harder rocking cut, one I've always been fond of. The other seven songs are geared towards melodic AOR, something they proved to be adept at on Secret Treaties, though it was presented in a more progressive form on that album. B3 and B4 in particular are very touching. I like the opening track as well, seemingly more like a mid-album cut. Strange beginning I think. I can do without A2 which sounds like the Stones, never a good plan. The side closers are lackluster as well. The end summary is that Agents of Fortune is a good album, somewhere in the middle of their canon, but not extraordinary. Lost opportunity because one of the tracks is just that - extraordinary.

Ownership: 1976 Columbia (LP). Reacquired in 2020. First purchased in 1978.

1978; 6/21/20; 2/14/25 (review)

Hard Rock Live Cleveland (2014 / 2020)

Quite an elaborate package with a double digipak and three discs. At this stage, BOC is really Eric Bloom and Buck Dharma with a touring band. And these guys have lost their ability to sing in harmony, one of their trademarks. It's nice to hear great songs that are under performed such as 'Golden Age of Leather', 'The Vigil', and 'Black Blade'. But they just ain't got it anymore. Weak sound and out of tune vocals. Fans seem to love it. I personally go back with BOC to 1978, as they were one of my first favorite groups. No blinders for me though.

Source: 2020 Frontiers (2xCD + DVD)

1/15/25 (review)

Fire of Unknown Origin (1981)

Another one of those albums I bought new real time, got tired of, and sold by the early 90s. From a cover perspective, it's very clear that BOC were moving as far away from Mirrors as fast as possible. A classic of its kind. The music is easily identifiable as Blue Oyster Cult and it's not that much of a risk taker. Much was made of the Joan Crawford song in its era, but it's not going to change your world. The whole album screams early 80s hard rock, plain and simple. There's nothing that sticks with you for days like, say, 'Subhuman'. 'Burnin' For You', which was the big hit, may also be the album's best track.

Ownership: 1981 Columbia (LP). Reacquired in 2023. First purchased in 1981.

1981; 7/27/13; 1/9/23 (review)

The Revolution By Night (1983)

I first heard this album on my winter break from college in 1983. It was relatively new then. It was the same time period that I picked up Savatage's Sirens and Manilla Road's Crystal Logic. A friend swore it was great, but as you might imagine, I had completely moved away from poppy hard rock such as BOC by that time. I thought it was terrible and maintained a low rating for the next 40 years almost. With this era of the 80s in my lens, now is a good time to repurchase the album from a local store. Well... yea, I can certainly see why I thought nothing of it when I was 18. It is lightweight and it is poppy. Which doesn't translate to terrible like it once did. I did recognize the opener 'Take it Away', but nothing else, 'Veins' is really nice and one gets to hear Randy Jackson (American Idol of course) play a mean bass on the lengthy 'Shooting Shark'. Side 2 is mostly solid hard rock as well. Other interesting guests are Larry Fast (Synergy) and Aldo Nova, a star in his own right not long before.

Former ownership: 1983 Columbia (LP). Acquired in 2022. Downsized in 2026

1983; 3/4/22 (review); 7/7/26

Extraterrestrial Live (1982)

The first live album I ever bought was On Your Feet Or On Your Knees, which became a personal favorite when I was 14. To this day, it remains one my top live albums in the collection. By the time ETL came out, I was already tiring of BOC, and this live album seemed perfunctory. I had seen the band live around this time, and modern reviews are generally very positive, so I plucked down near-retail dollars to buy this used copy. Nope, looks like my 17 year old brain knew better. The key to On Your Feet is the improvisational and energy quotient, both missing from ETL. Obviously seeing them live was a different positive experience, but it isn't captured here. It's a run through of all their hits, and every album has at least one representative including even their least successful Mirrors album. The only cover song is Roadhouse Blues, the Doors chestnut that was overdone in those days. I don't think it's a very good song to begin with, and might be my least favorite Doors hit. Oh well, not every nostalgic pull is going to work out.

Source: 1982 Columbia (2xLP)

2/18/22 (review)

Secret Treaties (1974)

The last of the "Black and White" trilogy of albums, Secret Treaties ups the ante on just about everything. Considered by many to be their most thoughtful and challenging album, lyrically Blue Oyster Cult were living in a surreal, but parallel, universe. Even tracks that are essentially boogie rockers receive mid track breaks that belong more to progressive rock - or later in the heavy metal genre considering the mid song riff change. 'Subhuman' is melancholy on a plate with a killer underlying riff. 'Astronomy' is about as progressive as BOC will ever get, always pulling back instinctively knowing their audience are there to rock and roll. Buck Dharma has a very recognizable guitar style. Had he chosen a route similar to Santana, his name would be far more known today as a soloist rather than band member.

The CD adds five bonus tracks. Three of these were recorded during the Secret Treaties sessions but left off due to time constraints. Revisiting these, it appears the band / label made the right choice as they are more straightforward than the album proper. Still it's quite excellent to hear unreleased tracks like this. The other two are singles, including live favorite 'Born to be Wild'.

Ownership: 

1974 Columbia (LP). Acquired in 2022.

2001 Columbia Legacy (CD). Contains insightful liner notes, lyrics, photos, and five bonus tracks. Acquired in 2012.

First copy: 1977 Columbia (LP). Acquired in 1978.

1978; 11/21/12; 7/7/15; 11/26/22 (review)

Buck Dharma - Flat Out (1982)

Blue Oyster Cult was one of the first bands I ever got into, going back to when I was 13 years of age. My mom didn't like the symbolism and was afraid I was "turning the wrong way". Dad, for his part, called them Blue Oyster Fart. He clearly had the right idea on parenting lol. In any case, I used to pour over the credits, since I had little else to do. And over time, it became quite clear that Donald Roeser (Buck...) was my favorite composer of the band. Had this come out in the late 70s, I would have bought it on the spot. But by 1982 I wasn't so much into BOC anymore (that was to be revitalized later, as you see above). Hence, this is my first listen to the album. It's a typical solo work with a hodgepodge of styles, enough to allure some loyal fans and gain a few others, but leave most wanting. There are a couple of great tracks here, I'm quite partial to the instrumental 'Anwar's Theme', but not enough to hold onto.

Source: 1982 Portrait (LP)

11/30/21 (review)

Other albums I own: Blue Oyster Cult; Tyranny and Mutation; On Your Feet or On Your Knees; Spectres; Cultosaurus Erectus

Previously owned: Some Enchanted Evening

11/26/22 (new entry)

Locomotive ~ England

Rudi's in Love / Never Set Me Free (1968)

Now this one is interesting. Still known as The Locomotive, this single was not included in the CD reissue below. And it's easy to understand why. It has little to do with their trademark sound. Rather this is Rocksteady music. Jamaican music, my friends. The horn charts and organ are well done. Not a bad 45, just the wrong group doing it.

Source: 1968 Bell promo (SP)

3/18/25 (review)

We Are Everything You See (1970)

Locomotive were an interesting band, with their sole album clearly released by Parlophone with big intentions for major acceptance in popular music circles. Many references can be tied to The Moody Blues and The Beatles, but with a contemporary 1970 sound, including horns and a heavy Hammond organ approach. And it just didn't happen for the starstruck band, who dissipated quickly afterward. There's really nothing wrong with the music here, it's definitely an album made up of psych / prog / pop songs geared for the hit parade. There's no artsy pretension or long flights of fancy here. Sure, there's the three part 'The Loves of Augustus Abbey' which is about as extreme as Sgt Peppers was, so it's still cuddly fun. In the end, since it's an album made up of structured songs, there's nothing extraordinary here - and nothing terrible either. All very well done, and certainly worth owning, but not enough to be a true cult classic for future generations. That would be reserved for guitarist's Norman Haines' decidedly more extreme album Den of Iniquity, which came about a year later. And that album also didn't sell squat in its day, but is more highly revered now.

Ownership: 2003 Eclectic (CD). Historical liner notes and six bonus tracks from singles. Though not including the one I have above.

2//04 (first acquired); 4//10; 10/10/15 (review)

10/10/15 (new entry)

MAX (Rodan) ~ USA ~ Los Angeles, California

Beyond Rodan (1970-1974 / 2024)

OK finally getting back on track here with some rarities. We have a beautiful new reissue to discuss today. I first had an opportunity to hear this uber rarity from top collector Heavy Rock way back in 2009. Here are my original notes:

Super horn rock album, that absolutely kills on most of the 12 short tracks. There are a couple of bluesy moves and at least one James Brown styled funker, but mostly this just rips from start to finish. The kind of album you wish all horn rockers were. Smoking guitar and great brass charts. The rhythm section never stops. California based group was actually known as MAX, and toured extensively with groups like Malo and Tower of Power. Album sports a fantastic drawing on the cover.

---

Now the story becomes clear. The original album itself is a pirate edition. It's not conclusive if the album was a tax dodge deal like the Guinness or Tiger Lily labels, or just an ambitious insider looking to profit. As such the original album is a hodge-podge of different eras of the band which explains the sound variations throughout. Now with this definitive (and gorgeous I might add) 2xLP set, you can hear the trajectory of MAX, though it's mostly spread across evenly (excepting Side A). Horn rock remains the primary genre, but they were progressive too in the same way as The Greatest Show On Earth or Brainchild. Jazz rock and finally hard funk can also be found in these grooves. The energy level remains high throughout. Beyond Rodan is a pleasant album to listen to. Despite being a double, I found myself engaged through its entirety. In fact I played both discs three times each before filing away.

---

After digesting the contents, I did have a couple of questions. I received an answer on the same day from founder David Cortopassi! Special thanks goes to Josh Cortopassi for the assistance.

1. There's a track on the original album called 'Pandora's Theme' that's not on this reissue. Was it just renamed or left off?

Scott Page had asked Joe Gottfried, owner of Sound City, to listen to the band rehearse (Scott's father, Bill Page, knew Joe Gottfried from playing with Lawrence Welk). Joe was impressed with MAX and offered to record us. First step was for me and Scott Williams to recorded several demos in order to decide what MAX would record at Sound City. Pandora's Theme was actually a piano solo I recorded at Sound City under the title "Of Aries For Scorpio". Other than that, I don't have a clue why it was renamed or even included on the bootlegged album. I had no input to the original Rodan album or the selection of songs on that album. As that cut didn't have horns, wasn't the same genre, and since time is limited on vinyl, it made sense to eliminate it.

2. There are five listed recording places in the liner notes. Do you happen to know the date of these - or at least the year? Even though the album was released in 1974, much of the music does sound more like 1970-71, which is consistent with the liner notes.

Quality differs from studio to studio and engineers have their own distinct sound or perception of what they record. My personal favorite recordings are those recorded at Sound City and Pacific Recorders. They capture what I consider that “classic” sound. In re-mastering them all, we did the best we could to closely reflect the album cuts as being recorded in a single studio.

I didn't keep track of the specific dates of the recordings, but the years by studio are as follows:
Sound City (1970 - 1971)
Pacific Recorders (1972)
Village Recorders (1973)
Columbia Records (1974)
ABC Dunhill (1974)

With that data in hand, here is your scorecard for when each track was recorded:

1970 - 1971: All of Side A; B2; B4; D3; C1
1972: B1; B3; D1; C5

1973: D4; C4

1974 (Columbia): D2; C3; C2

1974 (ABC Dunhill): D5

Ownership: 2024 Digital Cellars (2xLP) Gatefold. Liner notes inside the gate. They maintained the awesome artwork.

6/22/09 (review); 3/17/25 (update / new entry)

UMR update

OK just a quick note here. I had to clean out my tape drawer which lead to some common group retrospectives. I expect to get back to regular UMR fare for a little bit anyway. Have some LP rarities here I'd like to cover off on.

If itchin' to do some research, check out Obscurus Subterraneum Musica (aka CDRWL), which right now is deep diving into the UMR archives. Once that's complete, I have 100's of titles here to go through for the first time.

---2/26/25

Alrighty I'm caught up on the 2025 listens that instigated the new band pages. Plenty of journals to publish when they're ready. And many more band pages as I get to them. I've been picking up commodity CDs and cassettes for 50 cents each, which allows me to check out lesser albums by bands like Pink Floyd and Rush (as examples). These will lead me to consolidate my reviews onto one page.

So many albums to go through. My listening stacks are enormous (including online). Thank goodness I was able to retire so I can actually get to these projects. 

And we have a wonderful LP reissue to share hopefully in the next few days. It's one you may not know about, so stayed tuned for that.

Obscurus Subterraneum Musica is the newly renamed CD Reissue Wish List (same URL as before), and I'm adding new items on a nearly daily basis. Tons of albums to add. All will link back to reviews here on UMR. I'm catching up on that front before adding all the new-to-me titles. There are hundreds to go!

---2/21/25

As you may have noticed, I've switched the posts from individual albums to band pages. I'll be doing this real time, so it will be years before all the posts get converted. I'm in no hurry. This format allows me to continue to add reviews and move everything forward. It keeps the older reviews fresh and also presents a perspective as a timeline of thoughts and opinions. As such, the reviews will be presented from newest to oldest in terms of the review, not the album release date. Since some bands only have one album, UMR will essentially function as before in those cases. This is the same format I use for Under the Radar and the CDRWL. Both will now link back to UMR for reviews. I'm going be to removing the year tag as I wasn't getting anything out of that. And consolidating some of my music genres / styles.

Albums I own on a physical media format will show the album cover, while the others only contain narrative (and I'll identify the source).

Journals will continue, mostly for bands outside of my primary interest area. They're being released 10 reviews at a time per genre. Same with revisits of older posts. I'll just call them out on a list (10 at a time) rather than move forward if I have nothing new to add.

Because of this new format, all obscurities will be included here rather than the old CDRWL. I've decided not to reimagine that blog. It will maintain its original function as a tracking device for new reissues and create awareness around obscurities that few know. The reviews will be here though, and I'll be sure to move older blog posts forward for a fresh perspective. Those without a CD reissue will earn the CDRWL label / tag, which exists here already.

With the above comment I have a backlog for dozens of new entries I'd been holding back. So you can expect a lot more activity on the blog. 

Van Halen (& related) ~ USA ~ Los Angeles, California

Van Halen (1978)

Since I was already diving into the Van Halen back catalog, I figured I'd relisten to the album I constantly refer to, and that would be the debut. Part of this review would also make a good summary. Van Halen is not only an extremely important album in my overall music listening development, but I would submit it had the same impact from a music industry perspective as well. There just wasn't anything like it in the commercial market at the time. Feb 1978 is the release date RYM attributes. So 7th grade, and about the nadir of my existence. About the only thing I can say positive about my 13th year is that this was the time when music became my most focused and important hobby, something that never wavered again, as I write this 47 years later. 

How was my reaction when I first heard Van Halen? It was too much for me. I wasn't quite ready for the heaviness presented. I know that sounds strange in retrospect, but we have to remember the era, and that I was also young with no foundation with metal (such as it was at the time). But I was becoming angrier by the day - being force bused to the housing projects will do that - and I quickly found that Van Halen was allowing me to purge some of that internal angst. Remember when I said on the Windchase review that my record collection was my psychologist? This was an early example. Eventually Van Halen became one of my favorite albums by the end of 1978.

I can only speak for FM radio in Dallas, but there were four tracks from Van Halen that they played constantly: 'Running with the Devil', 'You Really Got Me', 'Jamie's Cryin'', and 'Little Dreamer'. The first one listed opens the album as well and is quite the statement, though not near as heavy as the album will become. The Kinks track is about as definitive a cover as you will ever hear. It's a great example of taking something from the 60s and amping it up 10 times. Fortunately it became de rigeur to include the preceding instrumental 'Eruption', which was groundbreaking at the time. A perfect segue too. One could argue that 'Jamie's Cryin'' was the blueprint for the future of Van Halen, though it is a very well penned song. But for Van Halen the album, it's one of the lightweight tracks. 'Little Dreamer' is a more simple song, but I always enjoyed the primary riff. Over time that track fell off the radio playlists, and in its place was an improvement. The blistering 'Ain't Talkin' 'Bout Love' which is a great representative of the album as a whole. To me it also indicated that audiences were craving more and more heavy and faster material. Today it's considered one of their best songs ever, even by fans of their later works.

'Ice Cream Man' introduces us to David Lee Roth's obsession with showtooney type tracks. While the premise doesn't fit the overall mood of the album, the instrumental sections absolutely do. Eddie Van Halen was possessed on this album, and probably was as angry as I was. All that early fame and fortune weakened his resolve quickly. The only dud track is 'Feel Your Love Tonight', which seems to have unanimous disapproval. It would have fit fine on subsequent albums but not here.

So that leaves us with the three best tracks that remain relatively unknown by those not familiar with this debut already. These were the three that I gravitated to without bias or influence, along with the aforementioned 'Ain't Talkin' 'Bout Love'. 'Atomic Punk' is the next generation of Led Zeppelin's 'Immigrant Song'. "Nobody walks these streets at night like me, I'm the Atomic Punk!". How I loved this song at age 13. And that crazy guitar scratching moment Eddie does - sounds like something Amon Duul II would have come up with. And Roth's vocals are perfect here. 'I'm the One' inches towards the Broadway play but instead just jams hard, and Eddie goes crazy on the solos. Brother Alex and Michael Anthony showcase their rhythmic abilities as well.

Which leaves the album closer: 'On Fire'. This is the heaviest recorded track in Van Halen's career, and remains my all-time favorite from them. It's also heavy metal, which ushered me into that direction, and one wonders how many other angry young men heard the same thing I did. When Roth screams multiple times "Fire" midway through, he isn't playing around - he sounds serious, something that would have served him well later in his career. And Eddie unleashes his most angry solo as well. They were never to return to music like this. One wonders had they taken Van Halen II to the next level where would have Van Halen ended up? I'd suggest perhaps a little bit less sales, and a lot more artistic success. True music legends versus party boys that once were serious.

Brilliant album. Especially for its day.

Ownership: 

1978 Warner Bros. Japan (LP) original pressing. Acquired in 2014.

1978 Warner Bros. (LP). Acquired in 1978.

Warner Bros. (CD) Commodity pressing.

1978 Warner Bros. (8 track). Kind of goes with the format! Acquired in 2026.

1978; 1999; 3/10/25 (review)

Balance (1995)

If I had no idea Van Halen were around on OU812, you can rest assured I really would have been completely unaware of them by 1995. It's only recently I've taken notice of this album, and it isn't the music, but rather from a collector perspective. Of all albums, Balance received a domestic LP issue on Warner Bros. in an era when no one was buying vinyl. And I'm sure it was more expensive too. Hence today its rarity, which is how I learned about (or paid attention to) its existence. I have a cheapie cassette here, so how did it go? It actually starts off intriguing enough with 'The Seventh Seal'. Could it be that Van Halen have matured into a thoughtful hard rock band? Blahahahah. Helllll no. I can honestly say I'd never heard one track from this album. And they all sound about the same. Each song less inventive than the last. It's better than its predecessor, not exactly a ringing endorsement. 

Source: 1995 Warner Bros (MC)

3/9/25 (review)

OU812 (1988)

This is the first time I've heard this title. By 1988 I would not even have known Van Halen were still around. I was safely in the workforce and deep diving into the European underground. 5150 isn't so bad, so how does the follow up rate? Oh good grief, 'When It's Love' sucks. You'd think by '88 that schmaltzy scene had played out, but it was actually the opposite. Oh hey, I actually recognize 'Cabo Wabo'. Guess I have heard something from this album after all. It's not an awful song, though Hagar crows too much for my liking. Side 2 gets off to a better start. Much more energetic, calling on their early 80s past. 'Feels So Good', OK yea, another one I recognize. Guess they were sneaking these tracks in my subconscious while I wasn't paying attention. I don't like it, though the organ emulation is interesting. Overall this album earned the disdain I had previously tagged Diver Down with.

Source: 1988 Warner Bros (MC)

3/8/25 (review)

Diver Down (1982)

I had this title rated really low. April '82 is when it was released. Second half of my high school junior year. There's no way I ever gave it a chance. I had already walked back my appreciation of Van Halen a couple of years earlier. I wanted heavier material by '82. After some 43 years, let's give it a more objective listen. So it it really that bad? Not at all. What's intriguing are the instrumentals, many more than usual. 'Pretty Woman' is one of their trademark cover tunes, and the instrumental 'Intruder' is the perfect setup, and usually not included (like 'Eruption' was), which it should have been. My memory had it that Diver Down was much more lightweight than its predecessor. That's not true either, though it most certainly is more friendly. The Dixieland and Happy Cowboy moves are more puzzling than embarrassing. Overall it's a bit more experimental than prior, while not losing focus on their commercial sensibility. Will I keep it? Nooo, but once again, much better than my original assessment. Other than the debut, that's the case for all of them from the past.

Source: 1982 Warner Bros (MC)

3/8/25 (review)

David Lee Roth - Eat 'em and Smile (1986) 

For Roth's follow-up Skyscraper I stated: "Hey - not bad at all. Better than what same era Van Halen were up to... ...Roth sounds like Roth and to me that means he's always "hot for teacher". Having Steve Vai on board was a stroke of genius. Vai gets a fat paycheck and Roth earns credibility while still acting out his macho bad boy routine. Good hard rock on the whole, though nothing revelatory." A fair assessment of this full length debut too (there's an EP prior). Perhaps Vai's own solo style is more on display than prior. A Van Halen with Stevie instead of Eddie wouldn't be an unfair conclusion. Roth was out there earning his paycheck, gotta give him that. Good stuff, just nothing I need to own at this point. 

Source: 1986 Warner Bros. (MC). Also have a sealed LP that I will be selling now.

1/30/25 (review)

5150 (1986)

Better than I remembered hard rock with Sammy taking over. Side 1 is the better of the two. A little too poppy at times, but not an embarrassment.

Source: 1986 Warner Bros (LP)

7/29/24 (review)

David Lee Roth - Skyscraper (1988) 

Hey - not bad at all. Better than what same era Van Halen were up to I believe. And do I hear organ on that first track? Didn't expect that. Roth sounds like Roth and to me that means he's always "hot for teacher". Having Steve Vai on board was a stroke of genius. Vai gets a fat paycheck and Roth earns credibility while still acting out his macho bad boy routine. Good hard rock on the whole, though nothing revelatory. The conclusion? The premise was accurate - reselling it for a profit.

Source: 1988 Warner Bros.

10/21/23 (review)

 

Van Halen II (1979)

As I stated on Def Leppard's High 'N' Dry: "One year later, during the summer of 1981, out came High 'N' Dry which I purchased on the spot. Had you asked me on Day 1 what I thought of the album, I would have told you it was great. But I knew it wasn't. Over the next year, my interest in the album had started to wane. As did my interest in the group in general. I was looking for heavier material, and more bands were cropping up to offer just that." Replace summer of 1981 with spring of 1979, and High 'N' Dry with Van Halen II and you have the exact same scenario. I was 14 and the testosterone was really starting to cook.

One of these days I'm going to write about Van Halen's debut, which I consider one of the greatest hard rock albums of all time. Unfortunately for us who enjoyed the band's heavier material, they more or less abandoned that for more radio friendly fare (the exception being parts of their 4th album Fair Warning). For whatever reason Van Halen didn't embrace 'Atomic Punk', 'Ain't Talkin' 'Bout Love', 'I'm the One' and 'On Fire' - but rather they followed the path of  'Jamie's Cryin'' and 'Ice Cream Man'.

Van Halen II's drop is more precipitous than Def Leppard's, at least from a heaviness perspective. 'Dance the Night Away' and 'Beautiful Girls' was the sound of the new Van Halen. There are a couple of notable exceptions: 'Outta Love Again', and in particular, 'Light Up The Sky' bring the hard rock goods. Even the one / two punch of 'Spanish Fly' and 'DOA' are emasculated. Hardly 'Eruption' and 'You Really Got Me'. 

Nostalgia plays a big role in me keeping this (for now). As noted above, I bought it new in 1979 having fallen hard for their debut. In playing it last night, I knew every note of the album though I don't think I've heard it in over 40 years.

Ownership: 1979 Warner Bros (LP). Picture innersleeve. Acquired in 1979. Reacquired in 2022.

1979; 9/5/22 (review)

Fair Warning (1981)

I spoke some of my history with Van Halen on the Women and Children First album. Though I never bought that album real time, I did splurge for Fair Warning upon release. And that's because they were playing the heaviest songs on the radio. And those would be 'Mean Street' and 'Unchained', both I would consider at the top of the heap for Van Halen. A nice return to form, recalling their massive debut. At the time, I wasn't so enamored with the rest, looking for more heavy material. In reacquiring this title, I found myself enjoying the whole thing. Most assuredly their second best album.

Ownership (LP): 1981 Warner Bros. Acquired in 1981; Reacquired in 2022.

1981; 4/28/22 (review)

Women and Children First (1980) 

Good ol' Van 'Alen. Ask me what the best hard rock album ever is, and I may very well say it's Van Halen's debut. What a mind blowing release that album was when it was released (and still is). That's a tale for another day. They dropped significantly on VH II, which I purchased and sold. So when the 3rd album came out, I just recorded it off the radio. And that was my copy for a few years, deciding not to buy the album. In reflection, that was the right move. However, I can afford to be more lenient now - and the album is exactly as I remember it. And well I should, since it gets constant airplay. I would argue that Women and Children First is a distinct improvement on II, but a far cry from the debut. Solid muscle hard rock, and the band hadn't lost their way just yet. They were still a "man's band", inching ever closer to winning over the ladies. 

Former ownership (LP): 1980 Warner Bros. Acquired in 2022. Downsized in 2026.

1980; 1/31/22 (review)

9/5/22 (new entry)

Triumph ~ Canada ~ Toronto, Ontario

  

Allied Forces (1981)

OK, now we're getting to the heart of the matter. I would say their four albums from 1977 to 1981 are where I'm going to have the memory synapses firing off. I owned all four on LP, most purchased real time or shortly thereafter. As noted at the beginning of this post, I hadn't heard the debut prior though I thought I had. Looks like Allied Forces was released in September, so this would be the beginning of my junior year of high school. The tail end of my interest in this kind of commercial hard rock. Per their protocol, they start with a rather mundane try for a radio hit. Next is 'Magic Power'  which has more than a slight resemblance to Rush, a parallel one can make throughout their respective careers. Then the title track gets us to where we want to be with Triumph: Barn burning hard rock with a few more ideas than your garden variety bonehead act. Then back to boogie rock, which is always dull. Their proggy heritage comes out again on 'Fight the Good Fight', another Rush-like number, with a killer mid song riff. They continue to keep their brain switched on with 'Ordinary Man'. The album closes as it starts, a hedge bet to keep the label execs happy. 

Source: 1981 RCA (LP)

3/8/25 (review)

Never Surrender (1983)

On my review for their 1976 debut, I proposed that I might be in for a Triumph renaissance. Even their 1987 album Surveillance had me looking upwards (though not enough to keep, mind). This one I thought would grab a nostalgia pull since it was released at the second half of my senior year of high school, a bit late where such occurrences might happen. So did it? Sort of. Like with Rush, Triumph had started to become toothless as the 80s rolled on. They didn't go synth pop like their Canadian contemporaries, and stayed with power pop rock. Their prog heritage does show up here and there, but not enough for me to stick in a tape drawer. Still, I'm rating this higher than I had prior. 

Source: 1983 RCA (MC)

1/30/25 (review)

Surveillance (1987)

Keeping with my promise below, I'm starting my retrospective of Triumph. Eleven years from their debut, and after many years of radio success, what could Triumph possibly offer at this late date? Def Leppard apparently. Naw, it's better than that band's later works but it's essentially the same kind of juiced up commercial hard rock. Kind of a last hurrah from Canada's other finest trio (Rush being the other of course...). By 1987, Triumph were irrelevant, but at least they gave it a respectful try.

Source: 1987 MCA (LP)

10/14/24 (review)
 

Triumph (1976)

Triumph's debut is one of those odd albums where the beginning of each side is the dud track, and each song thereafter is better than the last. Somewhere along the line I thought I'd heard this debut back in the day but I hadn't. This album was never released in the US. Some of the songs were via the Rock & Roll Machine compilation (which I did hear), but not the album itself.

Even if I had heard it, my tastes have changed to really appreciating this type of hard rock. The inauspicious openers are party rockin' bar n' roll. No thanks. After that though, you'll hear influences such as Pink Floyd and Jimi Hendrix (Frank Marino probably). But perhaps most relevant is fellow Toronto heroes Rush. By the end of each side, Triumph shows a proggy heritage, with both 'Street Fighter' and 'The Blinding Light Show' being the highlights. Plenty of synthesizer on here too. It's time for me to revisit all of the Triumph works. I suspect my viewpoint will be far more favorable than it was in the 80s.

Ownership: 1976 Attic (LP). Blue label original. 

6/7/24 (review)

6/8/24 (new entry)

Helstar ~ USA ~ Houston, Texas

Burning Star (1984)

Helstar were one of the classic metal bands that I got into about 13 years after their debut. Coming from nearby Houston, I probably should have shown more Texas pride and picked this up upon release. But funds were short in my early days of college, and I didn't read anything that stated they were that much more original than any of the other bands emerging during that era. In hearing this album for only the second time, I can understand that sentiment from the metal journalists of the day. However vocalist James Rivera (known here as Bill Lionel) could scream with the best of them, and his unique approach definitely adds points. The guitar tones and production aren't particularly heavy, even for the era, but the riffs and solos are inventive. And they do manage to throw a few ideas in per song. One could argue that Fates Warning simply took Burning Star as a blueprint and upped the ante on the complexity for their breakout The Spectre Within release. Early classic metal like this still has a place in the collection.

Ownership: 1984 Music for Nations (LP). Different artwork than the US release. Acquired in 2024.

First copy: 2005 Century Media (CD). Acquired in 2014.

10/19/14; 12/23/24 (review)

Nosferatu (1989)

Helstar's 4th album is considered by many to be their masterpiece. Not sure I disagree, though I'm not all that intimate with the band's body of work. There's a compact progressive thrash component here mixed in with the power metal sounds of Helloween for example. No question, though, that James Rivera has one of the all-time great voices for heavy metal.

Ownership: 1996 Metal Blade (CD). With full lyrics and a million "special thanks". Acquired in 1997.

1997; 4/19/20 (review)

Remnants of War (1986)

Remnants of War is  Helstar's second album. And is precisely the type of 80s metal I love - it's raw, heavy, inventive, a little messy, and extremely engaging. And... yes, progressive too as there's quite a bit of riff and tempo variety within each track. To my ears, Remnants of War sounds like a heavier version of Fates Warning's The Spectre Within, an album that remains one of my favorite metal albums ever. And James Rivera's soaring vocals even recalls John Arch at times. The relistenability factor is very high for recordings such as this.

Ownership: 1986 Combat (LP). Acquired in 2020.

First copy: 1999 Century Media (CD). Acquired in 2016.

12/4/16 (review)

Also own: A Distant Thunder

12/4/16 (new entry)