Mike Oldfield ~ England

QE2 (1980)

All these years later, and I still hadn't heard QE2 from Mike Oldfield. By the time I was out of college, I'd heard the rest save Platinum. That latter album ties closest to QE2. Even though I really enjoy Oldfield's next two works Five Miles Out and Crises, both also a mix of long and short form tracks, I don't hear the same kind of inspired writing on QE2, similar to my reaction to Platinum. OK, I've now heard it and I've completed my Oldfield run. Though I do need to revisit Incantations, which has been sitting in the listening box for about three years now. (Jun).

Source: 1980 Virgin UK (LP)

6/15/25 (review)

Ommadawn (1975)

Another one of those records I've had since the beginning of time (my time of course...). This is one of those albums I keep expecting to go to the next level but it never quite does. Here Oldfield is playing on familiar English and Celtic countryside themes similar to Hergest Ridge, with one track taking up both sides, but lacks the wild climax that album possesses. A very fine LP nonetheless.

Ownership: Virgin UK (LP). Red and green labels, likely from the early 80s.

1985 (acquired); 2/3/23 (review)

Five Miles Out (1982)

Last year I wrote the following about my rediscovery of Crises (edited for relevancy): 

I was on a Mike Oldfield kick in college, and this one was his newest album at the time... Back then I was looking for more and more underground prog rock, and Crises to me at that time was only half an album. Eventually I moved it out. In reacquiring the LP, I could almost argue the same thing - except the half I like best today are the 6 tracks that make up Side 1. In fact, in absorbing the album with 3 straight listens, I could be persuaded to add Crises to my X-Wave collection versus progressive rock. Of course Oldfield is considered prog rock royalty and he brought on many guests for this album, most from that world... Overall, this resulted in a +3 listen. It won't be long before I find Five Miles Out I'm sure...

---

And that day has arrived. Every single thing I said above applies here. From the +3 listen(s) - to the shorter tracks being more preferable than the side-longer - to the special guests - to the argument that this could be an X-Wave album versus prog. If you like one you will like the other. Glad to have it back.

Ownership: 1982 Epic (LP). Gatefold. 

1984 (first acquired); 3/22/23 (reacquired / review)

Crises (1983)

I was on a Mike Oldfield kick in college, and this one was his newest album at the time, though Discovery may have just hit the shelves, can't remember. Back then I was looking for more and more underground prog rock, and Crises to me at that time was only half an album. Eventually I moved it out. In reacquiring the LP, I could almost argue the same thing - except the half I like best today are the six tracks (see below for details on this) that make up Side 1. In fact, in absorbing the album with three straight listens, I could be persuaded to add Crises to my X-Wave collection versus progressive rock. Of course Oldfield is considered prog rock royalty and he brought on many guests for this album, most from that world. I think the best track here is the ultra catchy 'Foreign Affair' followed closely by 'In High Places'. Concerning the latter, this is the type of setup that best highlights Jon Anderson's voice. And yes, the side longer does possess a strong progressive rock component. Overall, this resulted in my second +3 listen of the year (see Faithful Breath). It won't be long before I find Five Miles Out I'm sure (and I did).

I own the Canadian press and this is significant. Why? This is the only pressing to have the track 'Mistake' on it. I originally asked the Discogs community about this, and it has now been confirmed. Also interesting to note that Crises was never released in the US on vinyl.

Ownership: 1983 Virgin Canada (LP)

1984 (first acquired); 8/24/22 (reacquired / review)

Hergest Ridge (1974)

I was in college when the Compact Disc first hit the common marketplace. But of course, like personal computers back then, they were prohibitively expensive for us student paupers. One could only look at the "long boxes" and dream of a scratch free / tick free experience. Oh the irony of today when everyone wants those sounds. Just like many want their beer to be hazy, after centuries of learning how to better purify the beverage. We're a world gone mad.

Really without any other choice, I stayed with the vinyl album because it's all I could afford (even then I disliked cassettes - another medium back in vogue. Going crazy I tell ya...). So in 1984, all of 19 and really dirt poor, I dutifully purchased my dogeared used and scratched USA Virgin press of Hergest Ridge for a $1 at a local store. So yea, not only used records, but not necessarily great copies either. Hey the nicer ones were $4! I couldn't afford that. And so I'd take the vinyl home, plop it on my roommate's crappy stereo with a crappy stylus and played it endlessly. Happier than a clam.

Two years later I scored a summer internship at a major defense contractor. I was making gobs of cash (relatively speaking of course) for the first time in my life. So I did what any other 21 year old newly minted "hundredaire" would do: I bought me a nice stereo! With a CD player - wow I'm rich! And the first two CDs I purchased were Pink Floyd's Meddle and Tangerine Dream's Green Desert. Stories for another day (and since told). But damn, new CD's were expensive back then. But then there was the burgeoning used CD market (not cheap either but better)...

I bring this story to the Hergest Ridge review because this was the first used CD I ever bought to replace a beat LP, starting a trend that continued for years. And to no regret whatsoever. As mentioned above, it wasn't like we had 180 gram pristine vinyl copies like today. Oh hell no - we just had scratched up old used copies of commodities that probably found themselves in a trash can years later. And back then even the new albums were cheap 80s represses - again of the commodity variety. Any expensive import I would have kept on LP. And to my ears, did this CD ever sound SO MUCH better than my old vinyl!

As for the music, Hergest Ridge remains my favorite Oldfield effort (though Amarok - the album from out of nowhere - gives it a run). He managed to capture the English countryside sound similar to Anthony Phillips - but on a large scale with many marquee name participants. And Side 2 gets really intense about halfway through - Oldfield's inner anger comes out with pounding / continual synthesizers and raucous guitar rave-ups. If you think of Oldfield as some tranquil music for middle aged New Age fans, play this side of music and you'll have a different viewpoint. Excellent on the whole.

Ownership: 

1984 Virgin UK (CD). Yes, it's the exact same CD as above. No bar codes. Cheap booklet that goes on to explain what a Compact Disc even is - in English, French, and German. 

1979 Virgin International (LP)

1984 (LP acquired); 1986 (CD acquired); 11/1/14; 9/14/19 (review)

Other albums I own and need to review: Tubular Bells; Incantations; Amarok

9/14/19 (new entry)

Mofoya ~ USA ~ Hawaii

Send a Message (1979)

Mofoya's sole album is an amalgam of styles covering everything from ferocious jazz rock to sweet soul and disco. To be clear, it is primarily a fusion album, but the other styles mentioned add spice to the dish. Flute and guitar are your primary instruments. Tracks like A4 and B3 are beautiful instrumental acoustic guitar and flute pieces, offering up the sounds of the island vacation you expect from Hawaii. Only to be destroyed by the Mahavishnu Orchestra style of A1, B4, and especially B2. B1 and B5 have some boogie down disco fusion, whereas A2 is sweet soul with fine female vocals. There's also references to the psych funk sound throughout.

I see Send a Message often labeled as a progressive rock album, but I don't hear it myself. It sends the wrong message so to speak. This is distinctly an American type of music that we often hear from the late 70s. Groups taking more simple styles to a higher art. Anyone who enjoys the CTI sounds of the 70s will enjoy this. Maybe even more so given some of the violent guitar on display.

On the back cover, the band name is stylized as MoFoYa.

No reissues exist as of 6/17/25.

Ownership: 1979 Kona Gold (LP)

6/16/25 (acquired / review)

Andromeda ~ Germany

Andromeda (1979)

Similar to Zarathustra, the German moniker of Andromeda is more known from an early 70s album. And just like with Zarathustra, I prefer the later, different band. This Andromeda plays a mixture of familiar progressive rock styles, most notably Jethro Tull due to the use of flute and overall song style. Also Genesis and Yes will get a reference. I was most reminded of mid to late 70s Mythos overall with a nod to Novalis, especially considering the half-German vocals. A very good album, one that carries perhaps too many lyrical passages to be a classic, but the instrumental sections carry the day. Strong guitar work as well.

Technically the band is known as Androméda. They have two other releases that I've not heard.

No reissues exist for any of their albums as of 3/12/26.

Ownership: 1979 private (LP). Acquired in 2025.

6/16/25 (review)

6/17/25 (new entry)

2025 Hard Rock Journal Vol. 1

Rory Gallagher - Blueprint. 1973 Polydor (LP). After being pleasantly surprised by Gallagher's Against the Grain (see below), Blueprint is more of what I would expect from a blues rock guitarist. I didn't derive too much out of this title unfortunately. (Jun)

Morly Grey - The Only Truth. 2000 Akarma (LP) (1972). Collection revisit (May). When I first started collecting heavily in the late 80s, I began to receive catalogs with big-time rarities. Among the top tier of those was Morly Grey, an album going for more than three times my monthly apartment rent back then. Without knowing the future, I just presumed I would never get to hear an album like that. It was exactly at that time the bootleggers started to run wild, and albums like this were available to us paupers too. After a couple of bad experiences I avoided those boots like the plague, and The Only Truth remained an album I missed in my original deep diving experience. Many years later, the always checkered Akarma showed up with a supposed legal LP reissue. Complete with the poster! Oh why not I said - especially since I had access to obtain it at a wholesale price. That's Part 1 of this review - the collector background. For Part 2 I'll cover on the music. If one was to just hear this album as "all things being equal" then I think it would be easy to walk away unimpressed. But if you can immerse yourself in the regional culture of northeastern Ohio in the early 70s, then an album like Morly Grey opens up. And that painting and font / lettering could be the cover art for the entire early 70s American private press movement. Even with that immersion, Morly Grey isn't near as adventurous, as heavy, or as psychy as many of their counterparts of the day. The 17 minute title track looks impressive on paper, but when you realize much of it is a space rock version of 'When Johnny Comes Marching Home', then it loses its punch. Many of my peers love this record but I'm not feeling it. Never have. For Part 3 of this evaluation, I now need to consider the ownership. Were it an original copy, I would treasure it to the end. Because it would come with a story of how I obtained it. If that happens at some point in my future, that would still hold true. Perhaps I'll obtain the later issued Sundazed CD or LP on the cheap via my various digging and trades. But this version? Akarma was always good at packaging, I'll give them that. But do I have any nostalgia at all for this particular LP? Nope - wholesale online mail order buy. Probably bought it in between some corporate meetings. No magical listens either. Long way of saying that this LP is out the door. But there's still room for The Only Truth in the collection if opportunity affords itself. Not essential though.

Eternity. 1981 (online). One of those sought after private hard rock albums from the abyss that was the late 70s and early 80s. Reissued on LP in 2014 by Got Kinda Lost, a Guerssen sublabel, the album was released to a larger niche audience. Looking at the cover, I know if I found an original in the wilds my hands would be sweating. It's got the look. You'd think it might be a Christian metal album actually, though it's neither Christian nor metal. As for the music, it's surprisingly straightforward for the time. Many of these type of underground bands from this era would mix in some proggy ideas or let loose in the instrumental department. No such luck with Eternity. The hype sticker suggests it has a sound more from the early 70s. Naw, too dormant for that. The guitar solos are very good, the other guys are rather static including the vocals. It's tough to figure out the audience for such a record, even in its day. Far different than fellow southern Californian residents Alkana. Good hard rock for certain, leave it at that I guess. Sealed copies of the reissue are still available online for a good price if interested. (Apr)

Steve Vai - The Ultra Zone. 1999 Epic (CD). It's hard to walk away from CDs like this when they're mint and only 69 cents, even though that's about all it's worth. I like Steve Vai though I've yet to hear anything I wanted to keep, including his work with David Lee Roth. This is a typical eclectic brew of hard rock styles with Vai's adept soloing. Something like this would have been head turning in 1979, but 20 years later, there were many of these type of albums, including from Vai himself. Fans will love it, but I remain impressed yet bored. (Apr)

*Rory Gallagher - Against the Grain. 1975 Chrysalis (LP). I'm way late to the party when it comes to Rory Gallagher. One of those artists I've heard of almost since the beginning of my time listening to FM radio, and yet have never taken the time to hear one of his albums. My loss. I never find them either, despite Against the Grain not being an expensive record (and many others appear affordable as well). The easy description is Gallagher plays blues rock. But this is far more interesting than your standard 12 bar blues. And what a guitar tone he achieves. One can hear Foghat, Groundhogs, or Frank Marino here, though probably one or all were more influenced by Gallagher than the other way around.  I preferred Side 1 to the flip. 'Cross Me Off Your List' is a particular highlight. I need to hear more of his albums before formulating an opinion and creating a page. I'm sure at some point I will find them out in the wilds. (Apr)

AC/DC - The Razors Edge. 1990 ATCO (MC). A reasonable person might ask why I continue to listen and review AC/DC albums when I don't like any of them. A good question that I don't have a great answer to other than to say I'd like to document all of them and try to be as objective as possible. I have to admit the opening is quite intriguing, as Angus Young has quite the unique riff going. But once Brian Johnson begins singing with his sandpaper voice, it's back to the usual boogie hard rock complete with gang chorus'. RYM has this as their highest rated album after Back in Black including For Those About to Rock, which surprised me. I once found a sealed reissue LP of this album but there was no way I was going to break it figuring I wouldn't keep anyway. Easy guess. I can't imagine building a group page for AC/DC since I doubt I'll keep any of them. If I do, then I can consolidate all these journal entries. Otherwise it just looks like I'm bitter towards them. But I'm not, they're just outside of my enjoyment zone. (Mar)

Terry Reid. 1992 BGO (CD) (1969). Very much of its era English blues rock. Many compare to Led Zeppelin in their similar early blues rock phase, though I'm not hearing it myself, even though Reid was very much part of that circle. Some good fuzzy guitar offsets the mostly vocal tracks. The highlight for me is Pete Solley's (not Pete Shelley as is often cited) organ performance. 'Marking Time' is my favorite track by some measure, and the rest is decent, but rather mundane to my ears. Typically great BGO reissue with a full history. Also contains four bonus tracks from 1967 and 1968. On these Reid is performing a more Beatles styled Baroque psych pop, much different than the album proper. (Feb)

George Hatcher Band - Coming Home. 1982 The Goods (LP) (1980). This ended up being much more interesting than I thought it would be. I found a sealed copy a full year ago while Mrs. UMR and I were antiquing down south in Florence (Colorado). Put it in the sealed records box to eventually check out. I found the album on YouTube with little expectation. The publishing address is Charlotte, North Carolina, so I presumed country rock to be honest, especially considering his look on the cover. Nope - not that. Singer George Hatcher was born and raised in North Carolina, but relocated to England in the mid 70s and began to work with Curved Air members. So clearly he associated with next level musicians. He started his own group in England playing American styled southern rock. Eventually he moved back to Charlotte and built a new band under his name. The reviews out there are accurate when they say that Hatcher bears a strong resemblance to Bob Seger. And some of the music also recalls the Silver Bullet Band. But it's much more creative than that might imply. There's also some really strong synthesizer, clavinet, and dual guitar work here. The opening three tracks are best before beginning to devolve into typical boogie rock. But even on those songs there's usually a cool guitar break. B3 and the second half of B1 are also really good. After A3 I was thinking this was going to be a keeper, but overall just not enough meat on this bone to keep me full through the winter. Will take the profit instead. (Feb) 

Power - Electric Glitter Boogie. 2017 In The Red (LP) (2015). Got this sealed from a store in Denver for really cheap (Feb). Let's go to Bandcamp and see if this is something I want to keep. Power are an Australian band celebrating the hard charging boogie rock of their 70s ancestors, like early AC/DC and Rose Tattoo. With a dash of late 70s punk thrown in, especially considering the songwriting and vocal style. But the guitarist gets a lot of limelight, putting us back in the early 70s. I wish they were copping Buffalo instead, but this isn't bad at all. No need to keep though.

Cherry St. - Monroe. 1996 Perris (CD). Cherry St. were yet another 80s glam band out of Los Angeles. Way late to the party (so to speak), they had to borrow old cans of hairspray just to get a back row seat. By the time of Monroe, they went au natural and look like every other tattooed hard rock band trying to make a go of it. The music is straight up boogie hard rock like AC/DC and Krokus, and the lyrics are loaded with foul language. No bueno by any measure. Appears the band never got plugged in correctly, and are now a mere footnote in history. This version features three bonus tracks where they at least up the metal ante. Needed way more than that though to gain anyone's attention. (Jan)

Other hard rock albums heard but not reviewed: Edgar Winter - Roadwork (Mar); Trapeze - Hot Wire (Apr).

* - Keeping for the collection

Between ~ Germany

Dharana (1974)

Dharana is the 3rd album from Between, an international combo based in Munich. The music here can generally be described as World Fusion, a catch-all tag that incorporates various folk traditions, electronic, new age, and jazz. You really have to be in the mood to hear an album like this, as it's very soothing and tranquil. Put away the jam kit kids, this ain't no Krautrock! I'd say on Dharana, Between is operating in similar fashion to same era Popol Vuh and Deuter, though very different than both in aggregate. Detailed liner notes point to Greek, Buddhist, Japanese, European (in general), and Indian tradition as references. Robert Eliscu's oboe is the most prominent lead instrument, though I find Peter Michael Hamel's trance filled organ to be a highlight. Two conga players ensure this isn't a static affair.

Ownership: 1977 Wergo (LP). Acquired in 2006.

3/26/06; 5/27/25 (review)

Other albums I own: Einsteig; And The Waters Opened

5/27/25 (new entry)

Z-Axis ~ USA ~ Atlanta, Georgia

Concatenations (2006)

In a total coincidence, this album was randomly chosen immediately after Gigur. Though I initially received it a few months later after my self-imposed musical exile. Meaning I do have a review for this one! And here it is:

---10/30/06

Z-Axis are a space rock, post-rock group from the Atlanta area, who pull out a few surprising twists and turns on Concatenations, their long awaited follow up album to their 2000 debut. Influences range from Ozric Tentacles to Tortoise to classic Krautrock and everything in between (and, well, beyond too). Opening with 'Out of Hand', a straight ahead guitar based groove rocker, with mellotron and other electronics floating on top, and crazed narration in the "Dawn of Brainticket" mode. Though, in this case, we get some good old fashioned southern preaching on the evils of sexual flirtation, verse the LSD soaked paranoia schizophrenia of Switzerland’s finest. Yea, a cool opening is right! The lively Whitewater follows with a catchy guitar melody and laid back mid-section with spacious keys. Next up is the nine minute triptych 'Too Clever By Half', and like all good multi-part lengthy tracks, mixes quiet meditative sections with high energy guitar-centered rave ups. 'The Grey Neighbors' and the continuation on 'Dry Land' are a personal favorite, due to the trance inducing nature of the percussion, mellotron, and acoustic guitar combined with a synthesized harmonium sound. They're almost in The Spacious Mind territory with this block of tunes! 'She Had to Go Live With the Lizards' returns to the female narration idea with a great fuzz solo, and odd Fish like vocals, which somehow fits here. 'Put Out the Cat' has a 1980s retro-wave urgency to it (who remembers Mason + Fenn's Profiles?) and is probably the most pure post-rock track on the album. Majestic, piano driven 'Columbia Dam' closes in grand fashion with featured guest flute (she should be a full time member!) and recalls Tangerine Dream around the Force Majeure album. I’m not one to do track by track reviews (and I did skip writing about a couple), but Z-Axis have no one particular style and run across a lot of familiar territory. The aggregate, though, is entirely unique. You know, the sum and parts and like that… A good album.

---5/27/25

And that was my last listen. I didn't even realize I owned it until I found it buried in my cd-r books (i.e. long forgotten). The album never received a release in a more stable physical format. This was to be their last album as it turns out and I still haven't heard their 2000 debut. I suspect the mellotron is sampled as it sounds too smooth to be real. I checked the Planet Mellotron site but he didn't have it listed. In any case my review above is detailed, and I hear it similar today. Worth keeping.

Ownership: 2006 Gnosis (cd-r)

10/30/06 (acquired / review); 5/27/25 (update / new entry)

Gigur ~ Mexico

Fin del Tiempo (En Tus Manos) (2005)

I could have sworn I wrote about this album when I received the CD, as I was writing a lot of reviews in 2005 / early 06. I think it arrived just as I was burning out hard (I recall walking away from music entirely for a couple of months to regain my enthusiasm). Well no time like the present and here is my second listen, some 19 years later. 

The album starts off in a similar mode to Fripp & Eno, with atmospheric guitar and electronic music. It curiously moves to vocal rock for the title song, and then onto more space rock realms. I'm often reminded of Djam Karet, though there's more than a few references to fellow Mexican space rock travelers like Humus and Frolic Froth, especially in the heavy sections. Ivan Tamez is the primary force behind Gigur and his guitar dictates the direction of the music. He achieves a wonderful tone throughout. And does a very good job of adding melody to his solos.

Ownership: 2005 Conarte (CD). Oversized tri-fold digipak with a 19 page booklet pasted in. Very elaborate. Acquired in 2006.

4//06; 5/26/25 (review / new entry)

2025 Metal Journal Vol. 1

Juglans Regia - Controluce. 2005 private (CD). One of the more unusual thrift shop finds, though it's clear once again this was part of Independent Records closing. Their CDs were strewn about Colorado Springs and could be found at various thrift shops last year (I bought a huge pile of them that's for sure). All charging from 50 cents to $3 each. Fortunately this came from one of the cheapest rate stores. I had a vague notion of this band's existence but can't remember why. Perhaps an old Syn-Phonic catalog or a mention on Progressive Ears. They have a page on ProgArchives and it's there we learn that Juglans Regia started as a traditional heavy metal band but became influenced by the dark side of Italian prog. They name checked Biglietto per L'Inferno. That's a heavy hitter and something that certainly would have caught my attention, so maybe that's what I remember. Right away we're introduced to a metal tone, though they don't riff according to genre norms. There are many post-1990 Italian prog bands that bring a little metal with them, most notably A Piedi Nudi, another band with a clear affection for the darker side of Italian prog. But that's where the association to progressive rock ends. Their debut apparently featured a keyboardist, and that element is clearly missing here. And without the presence of some psychotic flute, comparisons to Biglietto per L'Inferno become frivolous. The rhythms are very rigid and clearly geared for standard fare rock. Over time it becomes clear that the Stoner genre is more present than any other. The guitarist mixes his crunch with fluid solos, and at times he can be expressive. Put him in a different setting and I think he'd shine brighter. The only prog guy here is vocalist Alessandro Parigi who sings in Italian and very much sounds like he's singing on a neo Italian progressive rock album. Apparently they've released a newer album (2023) with a keyboardist in tow. Comes with positive reviews and ratings. Probably won't find that one in a thrift shop. (May)

Betrayel - Offerings. 2020 Divebomb (CD). I bought a huge pile of sealed CDs directly from Divebomb a couple of years back, but this one was an open copy. So this will be my first foray into that purchase. Betrayel were a thrash metal band from Fresno, California that released two cassettes between 1986 and 87 and off to the former-metal-band desert they went. Years later the good folks at Divebomb reissued those and a raftful of other archival material on what looks like a well researched release (I haven't heard it and it's not in the pile I grabbed). The enthusiasm inspired the original quartet to reform and release a new album. Figure these guys are close to my age, so probably were in their mid 50s at recording time. One cannot accuse Betrayel of betraying (had to do it) the 80s thrash aesthetic. But if you don't do more with the concept, then it becomes yet another 80s sounding thrash album, which is why these albums tend to rate much lower than the originals. From the first note to the last I was reminded of Exodus first with a few nods to early Testament. Especially the brusque vocals of Chris Campise and the gang chorus', never a favorite motif for me. I like the guitar tone and also appreciate the solo style which is more melodic than shred. A good effort but without creating new paths, Betrayel is treading the same old ground verbatim. It's worn out. (May)

At Vance - Chained. 2005 AFM (CD). Yet another German power metal band from this 2016 metal buy (they weren't all like this fortunately). A lot of commercial aspirations for this title it would seem. Almost like a more metalized version of Whitesnake. Sounds fairly generic to me. This was their 6th album and I'm reading it was a bit of a drop off from prior works, though I might not notice the difference. The style exists within a tight framework so I'm not sure where there's room for innovation. This is a long way from the tech thrash bands of the late 80s and early 90s, which was totally random, or so it appeared. Plenty of classical rips to endure here as well. (Apr)

Seventh Wonder - Waiting in the Wings. 2006 Lion (CD). And we're back into that 2016 collection buy that I seem to tackle once a year (see Dream Quest below). Maybe this will be the year we get through them all. We'll see. Want to guess what this sounds like? Yep, more Dream Theater worship with a European power pop sensibility. These albums follow a pattern and they are instantly recognizable. By default they will nail a sequence or two that I find interesting. This isn't easy music to play and the band are to be commended for attempting the complexity. Problem for me is that it was done pretty much exactly in the same style a decade prior. But if you can't get enough of it, here's one more for you. Seventh Wonder are still around and have six studio albums and one live effort. (Apr)

Morbid Angel - Altars of Madness. 2018 Earache UK (CD) (1989). I remember Morbid Angel when they first broke into the metal scene. Though I was far removed from most contemporary popular music trends by 1989, I did keep an eye on metal, especially thrash and some of the wild techy albums coming out of that scene. Morbid Angel were part of the next wave of extreme music, that of death metal. I never liked the vocals of that subgenre too much, sounding cartoonish to my ears, so most of the music sort of passed me by. Lately I've been drawn to some of the more extreme thrash bands from the 80s like Kreator and Destruction, so I'm thinking that this might be my time for Morbid Angel. I found this CD for $1 at a thrift shop in the Kansas City area two years ago but it ended up in the "eventually will get to it" pile. Probably for the best in this case. So how did Altars of Madness do? Hmmm. I didn't let the vocals bother me, and they didn't honestly. What of the metal? It has the problem a lot of these type of groups have. They go too fast and there's no separation in the music. Blast beats. It's a blur at times. I want more crunch and inventive riffing. More meter changes would have helped with the pacing as well. Not to say they don't do that on occasion, but not enough for me. Looking at the ratings this is considered a landmark album for the style and I can appreciate that. For 1989 this is some pretty radical music. But it wasn't for me then, and it still isn't. But I do appreciate it much more than in the past. Interesting to note that despite being from Florida, the album was only released on LP in England. A year later it was issued as a CD and cassette here in the States. (Apr)

*Apocalyptica - Live in Helsinki St. John's Church. 2023 Odyssey (2xCD). Numbered. Pulled this out of a local record shop for a buck. Brand new. I'll take that! Honestly this belongs more to classical than metal, but for journal purposes, I'll put it here. My synopsis: I have an idea. Let's get Starker, Du Pre, and Piatigorsky on stage, along with a percussionist, and ask them to play the music of Univers Zero. With the atmosphere and riffing of Candlemass. That sounds like a good plan. (Feb)

Kick Axe - Vices. 1984 Pasha / CBS (LP). Picked up dirt cheap at a local vintage shop's closing sale (Feb). Saskatchewan's finest debuted with Vices on the same label that housed Quiet Riot. And that's a good guidepost too as for the sounds within. If you're going to do this kind of metal, then you might as well do it right, and Kick Axe goes to the top of the glass - I mean class... Very nice heavy metal sound they have here. Thick and wedgy, no mistaking this for hard rock. And the tunes aren't that bad at all. They even throw in a couple of unexpected twists to keep the three people happy that would be interested in hearing such a thing on an album like this. What holds Vices back is the style itself. There's only so much you can do within the confines of anthem metal. About half the album holds interest and the other is like a repeat of the same. Kick Axe - well someone had to take that name. Might as well be these guys. This is a much better album than you would initially think given the premise. I thought about keeping it, but it would start at the bottom of the collection rankings. No point in that.

Ratt - Invasion of Your Privacy. 1985 Atlantic (MC). From a friend's garage sale last year. I found this on LP five years ago during the pandemic, and decided to grab my profit instead of keeping it. And since I didn't document the listen, thought I'd try this tape out and get that done as well. I was pleasantly surprised that I enjoyed their EP tape, pulled from the same sale. Ratt were yet another variation of the Motley Crue sound and the rest of them from Los Angeles. More metal than hard rock, though hardly cutting edge. Perhaps the heavier side of Van Halen circa Fair Warning is another reference. Feminine friendly, so when you go that route, you better bring some songwriting to the studio. No technical superiority to hide the lack of those skills. I'd suggest the music is similar to that debut, though without any noticeable progress. I still haven't heard Out of the Cellar (well at least in 40 years), their recognized classic. I never get tired of seeing the megababes of the 80s, of which the cover features (she was a Playboy model). Today the woke children of RYM suggest in the comment section it would have been better had it been one of the guys in the band. Yea we're f*cked up alright. Time to get back on track guys! (Jan)

Dream Quest - Centralia. 2006 private (CD). Collection revisit (Jan). Funny that this came from the collection I'm always threatening to tackle, and I'm already revisiting this title ahead of ones I still haven't heard. One of the few I listened to upon receipt of that collection (2016). This is a good album really, a fine mix of power and prog metal with a dash of shred. And at 33 minutes, the EP length is more ideal for this style of music. Same argument as always, I have way too much of this already. If I didn't though, I'd keep it for sure. Nice private release from Canada.

Isen Torr - Mighty & Superior (EP). 2008 Shadow Kingdom (CD). Collection revisit (Dec 2023). For some reason I had it in my head this was a reissue of a rare American 80s piece. I think it's the goofy "private looking" cover. But no, it's a side project of the doom metal band Solstice from England. Mighty & Superior is made up of two eight minute tracks and is clearly aimed at the epic metal crowd led by Manilla Road and the likes. Which would be me. It's not exceptional but certainly true to the genre and a pleasant listen. I have enough of the "real deal" so I can let this one go.

Other albums heard but not reviewed: This Ending - Needles of Rust (Feb); Nightrage - Abyss Rising (Feb).

* - Keeping for the collection

Blister Chap ~ Germany

Sweet Lillian (1980)

---5/23/12

With a moniker of Blister Chap, and a cover that features the male-fantasy-overload of a nice pair of gams* in fishnets holding a half-lit cigarette, one shouldn't expect much more than a good time rock-n-roller right? Well, no, not exactly. Blister Chap surprises everyone here with a sophisticated blend of American styled hard rock, AOR, and 70s progressive rock. Lots of clavinet as well for gear heads. Even more complex than a similar band - say Canada's Saga - which is bizarre on first sight. Released on the do-it-yourselfer Brutkasten label - and about par for the course for the imprint. You never know what you're going to get, and this one is quite good honestly. Not Krautrock mind you, defying their heritage, but if this were from the UK, then collectors would have more to crow about I think. File next to the Desiree - Make it With a Smile album.

 * - It's long been a goal of mine to put the phrase "nice pair of gams" in a review. I can scratch that one off the bucket list.

---5/24/25

Ha - look at that, almost precisely 13 years later I'm back to Blister Chap. This time I'm listening to my newly acquired LP. Blister Chap is a classic example of being lazily called Krautrock when it has no association whatsoever with the term. RYM wisely avoids this trap and uses Art Rock and Hard Rock as principles with Prog as a secondary. Another reference here would be Dschinn Fizz, a band I was mostly unfamiliar with in 2012. There were a lot of these interesting German bands running around the late 70s and early 80s. They weren't the "since discovered" prog acts (Sirius, Ivory, Neuschwanstein, etc...) nor the early metal groups, but rather bands trying to extend the boundaries of more commercial friendly fare. Scorpions were sort of up to the same thing, they just added more muscle to the proceedings. There's also quite a bit of fusion on Side 2 that is much welcomed. Title track could have used a rework however. Finishes nice though. As I concluded the Dschinn Fizz review: "If you come here looking for the next progressive rock classic, you won't be impressed. But if looking for that peculiar breed of North American "proggy AOR", then this album moves to the top of class.", one could easily make a similar argument here for Blister Chap.

As for the band moniker, that's a swing and a miss. There's just no quality connotation with the word blister. Blisters blow plain and simple. Perhaps Chaps My Ass would have aged much better.

Ownership: 1980 Brutkasten (LP). Acquired in 2025.

5/23/12 (review); 5/24/25 (update)

No reissues for either of their albums as of 4/28/26.

5/24/25 (new entry)

Foreigner ~ England

Double Vision (1978)

So finally we get to Foreigner's sophomore effort. This was one of those early albums that I recorded off the radio and couldn't generate the enthusiasm to purchase. I was a fan of the debut, but already by 1978 I was looking for more. A wise 13 year old apparently. One gets the impression that the members of Foreigner were recruited by a corporation to create the perfect AOR group. And they succeeded that goal on the debut, but the band accidentally recorded some quality music to go along with their obvious attempts at radio airplay. By Double Vision, they'd honed their craft to block out most of that innovative music nonsense, and get on with making hits! Even with that, they let a few good songs slip on the B side. Namely 'Tramontane', 'Lonely Children', and 'Spellbinder', none of them allowed within miles of getting on the radio. Honestly I think they improved on their "formula" for their next two albums, separating further from any kind of artistic integrity dogma. And to think former King Crimson member Ian McDonald put his good name to this effort. Look at him and his pretty girlfriend on the album with Michael Giles and ask "What happened mate?"

Source: 1978 Atlantic (LP)

1978; 5/15/25 (review)

Foreigner 4 (1981)

My rating for this was really low, a reaction real time to what I perceived Foreigner to be back then. By 1981, I was going underground, and had no use for mass acceptance pop slop like Foreigner! As noted on their debut, I was a fan of theirs as they started when I was all of 12. In hearing that debut album again only a few years ago, my view softened considerably, and nostalgia took over (I kept the LP). I imagine a similar response will occur when I revisit Double Vision (nope). A reunion with Head Games didn't have the same positive response, so will Foreigner 4 do any better? I'd submit very much so. Make no mistake, this isn't getting collection space, but it does represent the time and place quite well. Compared to the garbage REO Speedwagon and others were spewing out, this is downright Yes in their prime. Even Journey was below this effort in 1981. It's still way too much panning for hits for me to take overly seriously, but not bad. Not bad at all.

Source: 1981 Atlantic (LP)

9/16/24 (review)

Foreigner (1977)

Unlike the other albums I own from my first year of buying in 1977 (including Alan Parsons Project I Robot which is already in UMR), I didn't originally keep Foreigner. Not even sure the LP made it to college with me. This was a "pandemic pickup" for a $1 from a fellow collector who had a garage sale on some random Sunday. Real time in '77 this would prove to be the first title I'd purchased with a prog rock heritage, primarily a one Ian McDonald.

Even though I played it endlessly as a kid, and only three years ago on the reminiscence purchase, I couldn't tell you what A5, B2-B4 sound like. The first two tracks were played endlessly on the radio, and they are good 'uns too: 'Feels Like the First Time' and 'Cold as Ice'. For me the best track is 'Long Long Way From Home', about the only one here that had more than two ideas in the same song. Overall, it's a pretty good example of late 70s FM radio AOR. 

I originally purchased this album in 1977 (as noted above) at Montgomery Ward in Northtown Mall (Dallas). I bought a lot at that store back in the day. The records were up front, by the window, near the entrance from the indoor mall. The mall itself was a total disaster and had turned into an outright slum by the 80s. They wisely bulldozed it and there's a much more attractive retail / office space there today.

Ownership: 1977 Atlantic (LP). Lyric inner bag.

1977 (first acquired); 6/22/20; 11/9/23 (review)

Head Games (1979)

Whatever I thought of Head Games when I was 14 years old still applies now. Though my rating was a bit too low. Yes, I can actually get through the whole thing, but it sure is trite. They are so obviously panning for hits at this point. I guess they figured if they threw ten of them against the wall, some would stick. And they were right, though they were to do even better (commercially speaking) on their next album. For what it is, it's not terrible, but I certainly don't need this kind of thing desecrating the collection.

Source: 1979 Atlantic (LP)

1979; 12/26/20 (review)

11/9/23 (new entry)

Arco Iris ~ Argentina

Agitor Lucens V (1975)

---7/9/09

This is a new revelation for me, and comes as quite a surprise. I always thought of Arco Iris as a new age / Andes Mountain hybrid from the 1980s. Then I was told their 1970's albums were different, so I got ahold of Los Elementales (which is on CD), a very fine fusion album from 1977. 

Agitor Lucens V appears to be unique in their canon. This is one of the best things I've heard in the last couple of years. It's a mite inconsistent, which is part of its charm I think. In some ways, this is Argentina's version of the Lula Cortes and Ze Remalho Paeribu album. And when you find out that their spiritual guide was a gorgeous babe / former fashion model, then you know these guys were tuned into something special.

---5/15/25

Agitor Lucens V was my highest rated album that I still didn't own a physical copy of. For many years this was the case. Even though Sony reissued the album on vinyl in 2020, I held out for an original since the reissue was also very expensive considering postage. Finally the reissue made its way to these shores, and I nabbed one at a relative bargain price.

It's been 16 years since I last heard the album while doing deep research for the CDRWL. As you can tell, the album made a strong initial impact and created separation from others in the stack. So has it held its allure? Oh definitely. Even better actually. Agitor Lucens V is a special album and truly is one of a kind. The album is almost indescribable yet it's mostly familiar within the context of each song. There is little consistency, very much an exploratory 70s styled release. My earlier comparison to Paebiru is accurate on a number of fronts, other than Arco Iris are more in control and professional (well, side 4 does get really out there). In some ways, one could see this being an Italian prog album were they allowed to stretch to a double LP. I first thought of this as I heard the long bluesy guitar jam that closes side 2. It reminded me of Garybaldi. Now mix some of that with Osanna circa Palepoli and you start to paint the picture. For a double album, it's enjoyable throughout, because you're embarking on the same journey as the group. You never know what's going to happen next. These are the best type of albums to have ever been made.

Ownership: 2020 Sony Argentina (2xLP). Gatefold. Sounds like it's been taken from vinyl, so keep expectations in check. Doubt originals sound much better to be honest, though I'd still like to have one. If Sony doesn't have the masters, then hopes for a perfect CD reissue are not likely.

7/9/09 (review); 5/15/25 (acquired / update)
 

Los Elementales (1977)

Arco Iris were always an unusual lot in the 1970s. All of their albums are different from each other, and often times different within the album itself. But not in that trite Beatles way which many bands fell victim too, but rather a much more exploratory element was present. The preceding effort Agitor Lucens V is one of the greats from the South American progressive rock scene, recalling other outsider works such as Paebiru from Brazil.

So when I first heard Los Elementales, my reaction wasn't that much different than some of the reviews I've read. Because it is after all 1977, and jazz fusion was all the rage. And on a cursory listen, that's what Arco Iris are doing here. But close inspection reveals far more than swapping synth, sax, and guitar solos over a breezy selection of tropical tunes. It's much more dense, sometimes angry, often times beautiful. The melodic component is high, and the technical chops are sound. In tow, of course, is their fashion model / spiritual guru Danais (Dana) Wynnycka providing guidance - and perhaps better for the rest of us, a few soft female vocals.

Don't overlook this one if you have a taste for fusion, and looking for something more substantive.

Ownership: 2006 Leader (CD). Digipak. Includes an interview of the band (in Spanish) and a couple of relevant bonus tracks. 

6/10/07; 2/7/14; 7/15/16 (acquired / review)

1/1/17 (new entry)

Jacobs Dream ~ USA ~ Columbus, Ohio

Theater of War (2001)

Theater of War is the second album from Jacobs Dream and is sandwiched between the two I've documented below. Musically it is very similar to both. Next-gen early Queensryche with plenty of progressive sensibilities. I'll also add another Seattle band into the influence bucket: Sanctuary. Some bands have that right sound, and Jacobs Dream possesses it. David Taylor's vocals are incredible. He never screams, and maintains melody at the highest registers. A little bit like the operatic Messiah Marcolin of Candlemass. Much praise should go to the guitarists here as well. They not only riff (with a deliciously distorted tone) but their solos are soulful rather than gymnastic. Theater of War extends the compositions more than their debut, calling on their progressive tendencies. And an obvious admiration for Iron Maiden. 

Ownership: 2001 Metal Blade (CD). Lyric booklet. Acquired in 2018.

11/19/18; 5/15/25 (review)
 

Drama of the Ages (2005)

Until late last year, I had never even heard of the grammatically incorrect Jacobs Dream. A few years ago, I bought a pile of metal CDs (all new or barely used) for $1 to $2 each, and stuck them in a drawer. Somehow I ended up with the first three Jacobs Dream albums. After hearing and enjoying the first one, I pulled the other two out for a higher priority than "tossed in a container forever" status. Of the CDs from that pile, some were hardly worth the pennies I paid. But Jacobs Dream is exactly the gem in the rough I was looking for.

As I noted on the debut, Jacobs Dream takes the premise of the Queensryche EP and runs with it. They are much heavier than our friends from Seattle were to become, and on the first two albums, singer David Taylor did a fine job at emulating Geoff Tate - himself imitating Rob Halford to an extent. For Drama of the Ages, Taylor is gone and Chaz Bond has taken the mic (cool name, eh?). His vocals are a bit disorienting at first, lower in register than Taylor, but still the Tate-isms are in play. Musically Jacobs Dream remain similar. They are not really progressive metal, but they have progressive elements, similar to the older vintage metal bands. The music is certainly heavy, and there are twists and turns within each track - and some sparse synthesizers. Miles away from the gymnastic Dream Theater school, Jacobs Dream provides you plenty of room for good old fashioned headbanging. Lyrically the band is becoming more and more overtly Christian. You would never know it by the music though. This is not praise-be-to-the-heavens hymnal work. But rather a different subject matter than what you might initially think hearing the music only.

This ended the three album run on America's preeminent heavy label Metal Blade. The fact that you can still find sealed copies for under $5 tells me the band weren't a big seller, despite the high quality and consistently great reviews from metal critics. From here the band began to self-release and later joined the Christian metal label roster of Retroactive. If any of these albums roam past my wire for a good price, I'm buying.

Ownership: 2005 Metal Blade (CD). Lyric booklet. Acquired in 2019.

2/7/19 (review)

Jacobs Dream (2000)

The summer of 1983 was an exciting time for us young metal fans, and one of the great new hopes was a band from Seattle named Queensryche, who had just released their eponymous debut EP on their own private 206 label (area code for Seattle). It was exactly the right kind of metal I was looking for, a pre sell-out Judas Priest type album with incredible songs, heavy riffage, and a gifted high-pitched singer. Unfortunately they were never to repeat this sound again, though whatever they did decide on was immensely popular, but it wasn't for me.

Enter Jacobs Dream, a somewhat obscure band from Columbus, Ohio, who are still toiling to this day. This - their year 2000 debut - is the album I was waiting for from Queensryche - and I didn't hear it until 2018. So I'm 18 years behind the times, and Queensryche is 34 years overdue. This is just the kind of traditional heavy metal I like, with real songcraft, excellent riffs and guitar solos, a little bit of progressive, but not overtly so. And vocalist David Taylor is really quite accomplished, reminding me every bit of Geoff Tate in his prime. You'll hear snippets of other groups as well such as Number of the Beast era Iron Maiden, Fates Warning circa The Spectre Within, and even Rush (listen to 'The Gathering' to see what I mean here). The music is not pitch perfect and is rough around edges - just the way I like it. Easy recommendation for those where the above time and place resonates.

Ownership: 2000 Metal Blade (CD). Lyric booklet. One bonus track. Acquired in 2018.

9/28/18 (review)

As noted above, these are the only albums I've heard by Jacobs Dream. Hopefully I'll discover more while digging in the wilds.

9/28/18 (new entry)

Sun Treader ~ England

Zin Zin (1973)

---2/26/13

Zin Zin is a very nice instrumental jazz / rock album with electric piano and exotic percussion. Despite the limited palette, there are many good ideas presented here, including some moodier atmospheric pieces. For those who like the jazzier end of the progressive spectrum.

---5/8/25

Short observation but pretty much spot on. I did forget to mention there's soprano saxophone on two of the four songs. Played in a friendly pleasant manner fortunately. Zin Zin is very interesting from a rhythmic perspective. The final 12+ minute track belongs more to electronic music than fusion, though the instrumentation remains the same. Awesome cover that I will add to my Wall of Albums.

Ownership: 1973 Island (LP). Printed inner bag.

2/26/13 (acquired / review); 5/8/25 (update / new entry)

Nightwinds ~ Canada ~ Ontario

Nightwinds (1979 / 1991)

Nightwinds were a Canadian prog band from the late 70s who recorded an album but didn't get a chance to release it, and off into the netherworld the group went. Rescued by The Laser's Edge, it would be 12 years (recent by archival standards) before the album made its debut. Ironically its arrival came a bit late for me and my running set of the era. We were all "Genesis'd out" by then. One of us bought the album and we all sampled it, but another band going down the Gabriel-era Genesis road was not what we were looking for at the time. Back then we bought just about every prog album that was released, but I decided against this title. By 1991 I was deep diving all over the world looking for the best prog albums ever made or were being made. Nightwinds wasn't where my dollars were going. Besides I was still mostly an "LP only" guy. Mostly from a financial perspective rather than for audiophile reasons.

It wasn't until 2009 that I finally sat down and heard the album all the way through. By then I was open to hear any good album, as my exhaustive searching for prog nirvana had reached its logical conclusion (not that I had heard everything, just the quest had leveled off). And yea, Nightwinds is really good actually. By that time Nightwinds was years out of print, and copies were selling for top dollar. It's OK, I'll wait.

And here we are 16 years later from that event and I've finally secured the CD at a reasonable price. One of those extremely rare times (these days) where the album arrived in the mail, and I popped it into the changer immediately (and listened to it twice in a row, another anomaly). That's exactly how I used to do it back in 1991. Not stacks of albums that sit waiting for their day on the turntable or in the player. So it's fitting to transport myself back to the era in which this was released.

So what of this music that Nightwinds plays? Would you believe it reminds me of Genesis? Haha. Of course it does. Actually it reminds me most of Florida's Babylon, another band that was ahead of the neo-prog curve by about three years. And that's the storyline here - it's a more compact and accessible form of early Genesis, just as IQ, Pallas, Marillion and the rest of them would bring forward in the 80s. Germany had other like-minded groups operating in similar fashion such as Neuschwanstein, Sirius, Ivory, Touch, and others. Take Wind and Wuthering, add Peter Gabriel back in, and modernize the sound. There's certainly nods to same era Rush and Saga, both hailing from Ontario and no doubt an influence here. But Nightwinds aren't as hard rocking as Rush nor as modern as Saga. Interesting to note that bassist Mike Gingrich came from the excellent Amish, one of my CDRWL staples.

In reflection, the late 80s and early 90s were an exciting time to be a hardcore progressive rock fan, which I most certainly was (and still the case - despite my constant forays into other genres). Back then new bands were sprouting everywhere, and the possibilities seemed endless. Plus I had a paying job (pennies really but happy to have it, and paved the road for the future), was still a single lad in my 20s, and allocated an inordinate amount of money to my hobby. That an album like Nightwinds was met with a yawn indicates the sheer amount of quality new product available to us at the time. Saturation was to come. But not yet.

Ownership: 1991 Laser's Edge (CD). Lyric booklet.

2009 (first listen); 5/5/25 (review / new entry)

David Stoughton ~ USA ~ Boston, Massachusetts

Transformer (1968)

---7/29/09

Way ahead of its time experimental psychedelic album. As adventurous as they come for such an early date, I was reminded of other experimental American artists from the same era like The United States of America, Friendsound, Music Emporium, Tim Buckley, Fifty Foot Hose, and The Beat of the Earth. Female vocals, trumpet, guitar, sound collages, and much more. Pure genius.

---5/4/25

More data has emerged since I last visited and wrote about Transformer. Apparently he was a Harvard mathematician (not sure if he was a professor of some sort) and was part of a music group called Cambridge Electric Opera Company, which this album was supposed to be released under. It was a last minute decision by Elektra to only put Stoughton's name and photo on the cover. John Cage was a major influence on the record, Stoughton recalls.

In hearing the album again, the two shorter opening tracks on each side are either psychedelic folk, or an English type of Baroque pop that was popular in the era. A3 is very similar to the experimentalism of Friendsound. And B3, while also experimental, does mix in some coherent psychedelic music. 

It's interesting to see the willingness of major labels to capture a larger audience during the late 60s. Transformer is hopelessly non commercial, but such were the times. By 1970, major labels weren't sure what to do, which is why I often called it the "confused year". By 1971, Corporate America had controlled the market and focused heavily on financial returns. That would be the state of affairs until it all broke down in the 90s when technology allowed everyone to participate. Today albums like Transformer are released regularly, but to niche markets, which is the proper approach.

This same article goes on to state: "Transformer... remains unpopular outside of what the musician calls "a small but dogged core of [online] music lovers who are interested in the extreme music of the '60s". I would agree with Stoughton that the album has found its audience due to larger global exposure. But I disagree with the influencer that it remains "unpopular". Who would know really? Seems popular enough on the websites I visit. I would say "unknown" is appropriate here. It's a polarizing album though, as is Friendsound, so yea it's not for everyone that's for sure. I enjoy it quite a bit, though I wish some of the experimentalism had been dialed back and they included more songcraft instead. Stoughton was good at writing tunes, so nothing to cover up.

Ownership: 1968 Elektra (LP)

No reissues exist as of 5/5/25.

12/20/07 (first listen); 12//08; 7/29/09 (acquired / review); 5/4/25 (update / new entry)

Sandrose / Eden Rose ~ France

Eden Rose - On the Way to Eden (1970)

Even though Sandrose contains all of the members of Eden Rose plus a female lead singer, there is little in common with the two groups other than perhaps a name association with rose. On the Way to Eden contains nine mid-length instrumentals informed by the jazz and psychedelic movements of the day. The album bears a strong resemblance to the era's TV and film library works. However what separates Eden Rose from the pack is the tracks are fleshed out further with some fine soloing, in particular Henri Garella's organ. Also these songs seem more like full compositions than sketches of ideas. Melody remains front and center. It's the kind of album that doesn't sound super exciting on paper but translates very well upon listening. The CD adds the B side to their sole 45, and is similar to the LP.

I originally had the LP of this but swapped for the CD upon release. And that's the last time I heard this before last night.

Ownership: 2003 Musea (CD). Full liner notes and bonus track.

5/26/01 (first acquired); 2003; 4/29/25 (review)
 

Sandrose (1972)

Sandrose are France's best representation of the European progressive adaptation of the post Jefferson Airplane sound. For anyone who loves groups like Earth & Fire, Julian's Treatment/Julian Jay Savarin, Goliath, Room, Nattura, Analogy, and a host of others then Sandrose is an obvious choice to own. Jean-Pierre Alarcen is absolutely sublime on guitar. Keyboardist Henri Garella lights it up on the organ, and adds more than enough mellotron to satisfy any addict of the instrument. The rhythm section is clearly schooled in jazz improvisation, while Rose Podwojny sings her heart out in a decidedly non-sweet, shrill way. 'Old Dom is Dead' will test your tolerance of her style. Eleven minute 'Underground Session' is not just a highlight of the album, but one of the great instrumental rock tracks of our time. I'm serious.

My first copy was the Musea LP reissue and eventually upgraded to the French original.

Ownership: 1972 Polydor France (LP). Gatefold; 2011 Lion Productions (CD). Comprehensive liner notes, more than the others I've owned prior (which includes Musea, M2U, and Belle Antique).

1988 (first acquired); 6/20/10 (review); 4/4/17; 5/5/21; 8/25/23

6/20/10 (new entry)

U.K. ~ England

Night After Night (1979)

Even though I've been familiar with both of the U.K. albums going back to the middle 80s, I never bothered to hear their live album. And really there didn't seem to be a compelling reason to do so, as most of these tracks come from their two albums, and rather straightforward renditions at that. Feels like a contract obligation album. Plucking down 69 cents for this cassette seems like a rational purchase. The title track is one of two new compositions. People are right in suggesting this is the beginning of Asia. It's a fine album oriented radio song just as I would say about the ones on Asia's debut. The other 'As Long As You Want Me Here' is even more likely to clog the Asia drain.The irony of having this concert coming from Tokyo. Nice show, nothing revelatory, and not much else to say. 

Source: 1979 Polydor (MC)

4/27/25 (review)  

Danger Money (1979)

Way back in 1984 I purchased Danger Money from a store based on someone's recommendation (he was standing next to me). I thought it was great on first impact. I had yet to hear the debut, something I was to pickup a couple of years later. For whatever reason in the 90s I soured on both and sold them off. I reacquired the first album in 2020 and now I've finally found this one. Though common online, it's surprisingly elusive in the wilds. 

In any case, I hear the music like I first did when I was 19 years old. Terry Bozzio on the drumkit adds more energy than Bruford did, and Eddie Jobson plays a surprising amount of organ for such a late date. His violin is always welcome. John Wetton brings his familiar voice and strong bass work. There's some very nice melodic songwriting here as well, with 'The Only Thing She Needs' being the highlight. You'll hear a strange mixture of ELP and King Crimson throughout, though the embryonic stages of Asia are buried deep within. Great album.

Ownership: 1979 Polydor (LP)

1984 (first acquired); 5/12/23 (review)

I own and still need to review the debut.

5/12/23 (new entry)

Deyss ~ Switzerland

Vision in the Dark (1987)

Deyss were the most maligned of all progressive rock bands. At least back in my day, which was real time in the 1980s and 90s. Their debut At-King was a complete misread of the contemporary audience and played off every caricature one could think of when talking progressive rock. It was something of an embarassment really. To be fair Deyss didn't have a whole lot of data, support, or feedback to rely on like any modern band of the internet age has / had at their disposal. To this day At-King finds itself on many of a Top 10 Worst prog albums of all time. And folks of my generation (and obsession I must add) still talk about it. To the point where it was clearly a scarring moment for many, and psychologists are in employ because of it. Fortunately I never gave it much thought beyond it's an album I didn't want to keep and sold it off three decades ago.

One must remember the era in which At-King came out. We were all starving for new progressive rock, and outside of England, it was pretty slim pickings. But things were starting to pick up in France, Italy, Germany, and beyond. Especially Japan. So having a vocalist named Jester wasn't such a bad idea on paper, even though it quickly became our Spinal Tap moment.

But what of their follow-up Vision in the Dark? Was it terrible too? No, of course not. Certainly I didn't feel that way since I've owned this LP for some 37 years now. However it's been at least 30 years since I last heard it, so would I be repulsed, overjoyed, or neutral?

The reality is Vision in the Dark is Marillion Script for a Jester's Tear worship. Itself Gabriel era Genesis worship. No question this is music of the 80s, in the same way Marillion were. Nothing analog about it. Jester isn't the right guy to be the lead singer, and he does bring a local accent. It's fine when the band has much going on, but the sections where he's the feature aren't going to win any awards.

It isn't until B3 that Deyss begin to cook, and this variation of neo prog has aged very well for me. Here they sound more like vintage IQ than Marillion. And the bass work is particularly notable, bringing out his inner Chris Squire. By the time we get to the side long suite (Side 3) it's as if we're listening to an entirely different group. For one, it's mostly instrumental. And for two, Yes now becomes the primary influence, and secondarily it's more Genesis than Marillion. There's even a bit of early King Crimson going on towards the atmospheric ending.

It's really too bad Deyss didn't continue on, as I'm sure they would've cleared up their good name in fine fashion. Many highly revered modern prog bands started off inauspiciously. Galahad, Abel Ganz, Citizen Cain, and Versailles to name but a few. Some would even throw Pendragon into that mix. They all had to learn the hard way what the modern prog fan wanted to hear.

So what's the answer to the question I posed above? Pleasantly overjoyed. Though for the first half, I'd only offer neutrally pleased. And yea, I like the cover too. It's Prog 101, but is that so bad?

Ownership: 1987 private (2xLP). Gatefold with picture collage inner bags.

1988 (first acquired); 4/21/25 (review / new entry) 

2025 Fusion / Jazz Journal Vol. 1

John Klemmer - Blowin' Gold. 1977 Cadet (LP) (1969). I know Klemmer best from his perennial thrift shop buck bin album of Touch which is a landmark smooth jazz album, and quite boring at that. This is almost the polar opposite. Borderline free jazz though just enough cohesion for me to remain engaged. Pete Cosey's psychedelic guitar gives the album a real edge, and the atmosphere describes a dingy club somewhere in the older industrial suburbs of Chicago. Moody, dark, uncertain, and exciting. Miraculously I found this for a dollar as well, and the cover drew me in. Not sure if this is a long hauler yet, so I'll keep it in the journal for now. I have another one of his early 70s albums here, so we'll see how that goes. (Apr)

Jasper van't Hof - The Selfkicker. 1977 MPS (online). Jasper van't Hof is someone who shows up often in European jazz circles but remains somewhat obscure here in the States. I only know him from a Pork Pie LP I own and honestly don't remember much about it. I'll get to it for a writeup eventually. The Selfkicker is a very interesting release and it really isn't jazz fusion as you would normally associate the term with. It has just as much in common with electronic, sort of the same crossover territory we hear in the early ECM albums. His primary sidekick is guitarist Toto Blanke and we can here his solo works showing up as well. Even Focus's drummer Pierre van der Linden makes a cameo, along with a couple of Danish guys on rhythm. Side 1 is mostly introspective and recalls some of the French acts of the era. Side 2 starts off in funky fusion territory. It's clear van't Hof is enjoying his new toy - that of the PPG Synthesizer (original 70s analog version of course). He moves to piano recital after this as the album calms considerably down from here. Difficult album to assess as it's largely outside of my interest area in both genres attempted here: electronic and jazz fusion. The intersection seems awkward to me. This album remains without any kind of reissue. Not adding to the CDRWL because his catalog his huge and I'm sure there are others of which I'm not anxious to investigate. (Apr)

Ramsey Lewis - Don't It Feel Good. 1975 Columbia (LP). What was that I was saying about smiling guys on the cover? In any case here we have Ramsey Lewis looking at Herbie Hancock's success and saying to himself "I could do 'dat". "Maybe mix in some smooth soul to up my chances for great success." Bzzt. Covering Earth Wind and Fire's 'That's the Way of the World' is a clue. Funky fusion meets soul. It's a pleasant listen for certain but nothing stands out, and the album is over. I've had a few Ramsey Lewis works come through here, including his iconic The In Crowd, but these are my first notes. Not sure if he'll get a page, all I need is one album for me to keep. And I have another here so we'll see. (It was Salongo and nope). (Feb)

Charles Mingus - Tonight at Noon. 2000 Label M (CD) (1964). Garage sale find from last year. Always liked the Label M releases with what they call a Q Pack. The opening track mixes free jazz with more melodic fare. The remainder is more to my liking though it's pretty standard jazz to my ears. I do like that Mingus can sometimes set a nice groove with his bass. Doesn't seem to be one of his more revered albums, though its reputation is solid. I'm up for hearing anything by him at this point. Hope to find some of his LPs out there in the wilds. (Feb)

x - Gemini Soul - Live: The Liquid Soul Tour. 2007 Pearl Jazz (CD). Thrift shop find from 2022 that I'm just now getting to (Jan). This was an interesting drop and also included Soulive with Karl Denson (that I kept but didn't document for no good reason) and the Emerge album that I went on about recently. There were some other serious obscurities that I since sold off from that same find. Clearly the original owner was a deep diver in all things jazz. This title is in RYM, but not Discogs, an unusual reversal.  The back tray cover has many references to Herbie Hancock, Stanley Clarke, and Hendrix styled funk. Uhh.... no. The music can be best described as contemporary funk jazz. There's nothing fusion about it, it's almost smooth jazz. The trio is led by bassist Andre Marcel Ajamu Akinyele, and his instrument is way up front. Mostly in slap mode. Almost like a bass solo album. The other major player is Jon O'Bergh who plays electric piano most of the time. It's a pleasant listen, but not near at the level of the two albums I started this paragraph with.

x - Pro Midget Mafia - The Beat Inside My Head. 1997 Royal Flush (CD). Thrift shop find from earlier in the year, but just now getting to it (Dec 2024). According to Discogs this is Ska music but I don't hear it that way myself. To me it sounds like Budos Band playing Latin Big Band music instead of lounge funk. Interesting album nonetheless though falls outside of my interest area. Some very tight horn charts here, impressive musicianship. Looks like it's a rare one and sought after, so that worked out at least (and sold in one day).

Eddie Henderson - Sunburst. 2002 Blue Note (CD) (1975). Collection revisit (Dec 2024). A couple of years ago I found Eddie Henderson's debut Realization on LP and noted how much it sounded like Miles Davis and Herbie Hancock. I quite liked it, and it's "hard filed" as they say. My introduction to Henderson as a solo artist goes much further back though, to 2005 and his third album Sunburst. This was long before my enthusiasm for all things jazz funk, and I couldn't remember anything about this. Funny enough even my notes from 2005 suggested not remembering much about it even after hearing it only a few weeks prior, other than it was a "kozmigroov" classic. So here we are again for the first time in close to 20 years. Seems Henderson is favoring funky Hancock more and more. The playing is incredibly tight, and these aren't easy meters to keep up with. I enjoy this album as well, though not quite as much as the debut. I do find LPs like this in the wilds, and I'll reevaluate again. Probably I'd keep it then.

---The following were leftovers from the 2023 journals, so I'll stick them here.

Hazchem - Strange Attractor. 1990 World Wide Records (CD). Collection revisit (Dec 2023). The UK group High Tide had a resurgence in the late 80s and early 90s resulting in a few contemporary albums being released in their sphere. Of those, the only one I'm keeping is Ancient Gates. Hazchem is similar, but on Strange Attractor the focus is on jazz rock, and the primary lead is none other than one-time Soft Machine member Lyn Dobson on saxophone and flute. The vocals are from the same Indian lady as Ancient Gates giving off more than a whiff of Indo-jazz. Tony Hill is only on one track here, so it's a stretch to make comparisons to the late 60s / early 70s High Tide sound. A good album, but I don't need to keep it.

Miles Davis - Four & More. 2005 Columbia (CD) (1966). Collection revisit (Nov 2023). This outing represents the more fiery and upbeat songs from a February 1964 New York show. The mellow tracks ended up on My Funny Valentine. For this stage of Davis I tend to enjoy his softer material. Can get a bit noisy, which I appreciate more in his electric era. The musicians are awesome of course. But I tend to want to be soothed by Davis not irritated. I also lent this to Mrs. UMR, and after one session, she handed it back. Nope. Between us we have enough Miles here already, so this one can go.

BBI. 2008 Soleil Zeuhl (CD) (1996). Collection revisit (Sep 2023). Archival release from group formed from 90s-era Magma and Xaal. Mostly an instrumental power trio very similar to One Shot's debut with guitar as the sole lead vehicle. Fairly one dimensional. There is more of a Zeuhl presence due to Bussonnet's bass style. I have enough material like this, so this one can go. 

Other albums heard but not reviewed: Ramsey Lewis - Salongo (Mar).

* - Keeping for the collection; x - not in RYM / Discogs

New Jazz Quintet ~ USA ~ New Orleans, Louisiana

High Energy Design (1981)

---12/28/18

New Jazz Quintet play an excellent late 70's / early 80's styled fusion, that is highly melodic, and features great guitar and synthesizer work. I'll put a feature post up eventually. 

---4/15/25

And six plus years later that promise has now been fulfilled. From New Orleans, New Jazz Quintet play a spirited instrumental fusion with guitar and synthesizers in the lead. In fact the band sports two lead electric guitarists giving them a distinctive edge. The synthesizers are from the 70s Moog school of soloing even if they are different brands. 'From the Depths' sounds like a Richard Pinhas interlude from Chronolyse. 'The Ozone Layer' recalls Mahavishnu Orchestra at their most fiery. There are seven tracks and every one of them is a winner, no duds here.

Ownership: 1985 ITI (LP). Second pressing with a different cover.

No reissues as of 4/15/25.

12/28/18 (first acquired); 4/15/25 (review / new entry)