Redshift ~ England

VII: Oblivion (2004)

---Jun 2005

Redshift are now down to a trio, minus guitarist Rob Jenkins. Oblivion is more about emotional soundscapes rather than complex sequences and sharp dynamics. I think the absence of guitar hurts the intensity somewhat. For those that wish Redshift would branch out more, this might be the perfect entry point. Still no mistaking their collective Berlin influences - or overall identity though. Highlight for me is the near 15 minute 'Runes', considering its creative and atmospheric Moog sequencing.

---9/22/25

'Runes' is old school Redshift for certain. More sequence heavy than I recall. The album closes with choir mellotron, which may be the greatest sound ever created (well other than maybe the flute tapes, also on this track). When thinking about Redshift, it's like going to your favorite restaurant, and ordering your favorite meal. Even though you instinctively know you should try something else. But you have a craving, and that meal satisfies every time. There are definite differences in their albums, as the below reviews suggest. At some point, I'll likely trim a few more of these titles, including this and Siren below. But I'm in no hurry. The restaurant will close before I change dishes. The band is no more due to Shreeve's demise, but he left quite a legacy to explore.

Ownership: 2004 Distant Sun (CD). Acquired in 2005.

6//05 (review); 8/18/13; 9/22/25 (update)  

IV: Siren (2002) 

As with Radio Massacre International (RMI), I have a large amount of Redshift CDs. In this case I own 12 of them (ed: now 11). Of all the great bands operating in the retro Berlin School Electronic space, I would submit that Redshift are the best of the lot. Even within those tight confines, I had Siren in the upper tier. This listen may have moved it down to the second division. Which is still excellent in my book, but the competition is fierce. Siren is from their 1999 Alfa Centauri concert, and features them as a quartet, which was their best lineup. Veteran synthesist Mark Shreeve leads the group with his Modular Moog in tow. Literally you need a tow truck to move it around. When folks talk about fat analog sequences, you cannot surpass the original Moog. And that's on full display here. Like with RMI, Baumann-era Tangerine Dream is the blueprint. Maybe more towards Rubycon than RMI's Encore sounds. As wonderful as Siren is, I would suggest it is one of their more mellow releases. There isn't the sequencer, mellotron, and guitar rave-ups that you'll find on their best albums. Siren is sort of their Stratosfear if making a comparison. The best track is 'Bombers in the Desert', but that is not a new composition, coming from arguably their best album Ether. Everything else is new to this recording.

Ownership: 2002 Distant Sun (CD). Acquired in 2003.

2003; 11/11/16; 6/26/22 (review)

RW2 | Redshift Wild 2 (1996-2002 / 2006)

Redshift's Wild series is their name for the band's archival material. Originally conceived as a CD-R only project (similar to country mates Radio Massacre International), they decided the material was worthy of factory CD status. And I agree. Wild 2 is an odds n' sods release of unreleased recordings made up from 1996 to 2002. Only Redshift could release a masterpiece made up of leftovers! The two early tracks from 1996 are the brilliant 'Prime' (their first ever recording) and 'Heaven Is a Turquoise Avenger'. If you're looking for that thick Moog sound, with complex sequencing, mellotrons, and Edgar Froese styled psychedelic guitar, well then... here you go. I'm always looking for that! Redshift were the best of the Berlin School revivalists IMO.

Ownership: 2006 Distant Sun (CD). Acquired in 2009.

2009; 8/30/18 (review)

Colder (2011)

Colder is the 14th album by Redshift (in the world of electronic music, live albums are often akin to a new studio release in that it's usually all entirely unique material). By this time, the ensemble Redshift had been around 15 years, and Mark Shreeve and Ian Boddy themselves have been going at it for 30 years (recorded history that is). So you should know what you're going to get here. And that's exactly what you do get. What's that again?

Oh yes. You get good old fashioned Berlin School heavy thick wedgy Big Moog analog heaven. Excellent melodies are dispersed, there are plenty of dynamic and meter shifts, and the whole thing oozes atmosphere. Redshift are a few years from their peak era of the late 90s and early 2000's (lack of real guitar does diminish their sound a bit), but this concert from 2010 is no slouch. The trio are clearly engaged, in sync, and shows off their professionalism. With Ian Boddy on board, the distinction between Redshift and ARC blurs a bit, but I'd say the former is heavier while the latter is more kinetic. 

---3/12/24

I decided to move this out as I have plenty of similar albums by Redshift and ARC. Last in first out (LIFO).

Former ownership: 2011 Distant Sun (CD). Acquired in 2018. Downsized in 2024.

6/29/18 (review); 3/1/24

Redshift (1996)

Redshift, in my mind anyway, are the premier Berlin School revivalists from the UK. They started as a quartet led by accomplished synthesist Mark Shreeve, and their blueprint is Baumann era Tangerine Dream. Nobody does it better, and it seems Redshift picked up where Tangerine Dream left off after Stratosfear. Their debut perhaps apes their mentors more than later efforts, but is by no means unoriginal. 'Redshift' is sometimes jokingly, or reverentially, referred to as 'Rubycon Part 3', as the sounds created from the Moog and the mellotron are identical to Tangerine Dream's greatest work. The music, however, is entirely Redshift's, proving that there are many doors still open within this house. 'Spin' is the highlight of the album and demonstrates Redshift's trademark variation of the classic Berlin School of music. 'Shine' is a short but effective sequencer driven piece while 'Blueshift' represents the longest track, though one third is a boring outro that could have been trimmed. Many consider this piece to be the highlight, and while good, isn't up to the standards of the first two tracks. Redshift were to improve dramatically for their sophomore album Ether - for me one of the greatest electronic albums of all time. 

Ownership: 1996 Champagne Lake (CD). Acquired in 2003.

2003; 8/28/10 (review); 7/20/18

Other albums I own: Ether; Down Time; Halo; Faultline; Toll; Last; Turning Towards Us

8/28/10 (new entry)

Kristen Nogues ~ France

Marc'h Gouez (1976)

---5/13/07

Kristen Nogues debut album (and her only solo for another 14 years) can be succinctly described as haunting Celtic folk music from Breton sung in the local tongue. Soft female vocals, violin, harp, acoustic guitar, hand percussion, and bombarde provide the instrumental backdrop. Quiet and introspective, with a mystical aura. One imagines hearing tales of love and war, while cuddled around the fire, as the cold fog envelopes the rocky green coast of Brittany. Essential listening for fans of Emmanuelle Parrenin.

---9/22/25

The above certainly encapsulates the atmosphere. Nogues' voice is really enchanting. Soft and mysterious. There are no less than ten musicians participating here plus Nogues, whose harp is the primary feature. While not really my music of choice, I find the album quite soothing. I have very little of this style in the collection, and this is an excellent representative, so worth keeping.

Ownership: 1976 Nevenoe (LP). Gatefold. Acquired in 2013.

This was in the CDRWL (though never featured) until reissued by SouffleContinu (2023).

5/13/07 (review); 11/6/13; 9/22/25 (update / new entry)

John Macey ~ USA ~ New Jersey

Meltdown (1984)

New Jersey based guitarist John Macey released three albums in his lifetime, with Meltdown being his second. Mostly this is a rough edged fusion album, far away from the glossy 80s. Pretty much the opposite of the ECM dominated jazz sounds of the day. He's on the same plane with Tony Noterfonzo, Robert Baglione (Continuum), Derek Newark, and others. There's also some of that Stevie Ray Vaughan Texas Blues going on as well. Perhaps you've heard of that special guest? Highlights are the smoking opener and closer.

Love the response cover to legendary fellow Jersey fusion guitarist Al Di Meola. Remember Elegant Gypsy? He's all dressed up in a 2 piece, while the beautiful flamenco dancer promises a romantic dalliance. Macey gives us the other-side-of-the-tracks point of view. Note label name as well.

Ownership: 1984 G-String (LP)

9/17/18 (acquired); 9/15/25 (review / new entry)

Pochakaite Malko ~ Japan

Laya (2004)

---March 2005

I loved Pochakaite Malko's debut, so now with KBB’s Akihisa Tsuboy on violin, I figure I’m in for a major treat. And I am! I sure find music like this so easy to listen to. Familiar, yet engaging. Creative, but not groundbreaking. This isn’t Cafeine = Ange more like Anglagard = SFF. Here it’s what? Weidorje / Zao / Daryl Way's Wolf? Same approach, different result. Heavy keyboards, thrashing violin, highly melodic, complex, with a great production.

---9/15/25

It's been 20 years since I heard either of Pochakaite Malko's albums. The first thing I noticed is there isn't guitar on the album and yet Tsuboy's violin often times sounds like one, which is quite cool. My recollection is this album was more steeped in the Zeuhl tradition. But it's clear they have an avant prog slant to them as well. The intensity recalls Happy Family with the violin giving it a Zao feel. But there's no chanting or Kobaian vocals here. One could also make an argument this is a heavy jazz fusion album, just like Tsuboy's KBB outfit. There are similarities between those bands as well. Categorization aside, Laya is a fun listen for those attuned to such sounds. It can be a bit overwhelming, and certainly not the kind of album for beginners. It's just too much at once, but not nauseous like related band Koenjihyakkei could be at times.

In case you're wondering, the band moniker is Bulgarian not Japanese.

Ownership: 2004 Tutinoko (CD). Booklet with photo and recording details. Acquired in 2005. Downsized in 2026.

3//05 (review); 9/15/25 (update)

Also own: Pochakaite Malko (2001). 

They released one more mini album Doppelganger (2006) which I've heard but never owned.

9/15/25 (new entry)

Secret Saucer ~ USA ~ Cleveland, Ohio

Element 115 (2001 / 2005)

I was reviewing the notes below while listening to the first few tunes on Element 115. This was Secret Saucer's debut and is much more geared towards pure space rock than Second Sighting. In this way, Element 115 ties closer to Tri-Angle Waves. Mostly the album is slow paced spacey blues rock with loud psychedelic lead guitar and swooshing synthesizers. Imagine mid 70s Pink Floyd as strictly an instrumental jam band. I quite like the processed organ sound on track 11. 

Secret Saucer were carved out of another space rock collective from the area known as Quarkspace, who had a similar motif. That band were more improvisational in nature, so their albums were more hit and miss. Secret Saucer, while certainly not conservatory styled composers, do seem to have a beginning, middle, and end in mind before entering the studio. Recorded in 2001, it is documented that this album was indeed purely improvised. Pretty impressive then. As a debut, I find the album refreshing as we are treated to a new set of sounds from a unique mix of musicians. 

Both ProgArchives and RYM have very few ratings for Secret Saucer's albums, but strangely PA has Second Sighting considerably lower. For my tastes, I prefer it to other two I've heard. See below as to why.

Former ownership: 2005 Dead Earnest (CD). Booklet with recording details. Acquired in 2011. Downsized in 2026.

8/27/10; 3/7/11; 9/15/25 (review)
 

Second Sighting (2007)

Second Sighting is Secret Saucer's second album (quite alliterative I'd suggest). It took me a long time to digest this one. Though I first purchased the CD seven years ago (a few years after initial release), it's not one I had absorbed at all. When I began to tackle it a few days ago, I didn't think it would take me a week to grasp it. But sometimes that's what it takes. The reward is I raised the rating, and Second Sight definitely is a cut above your garden variety modern space rock album. Though ironically it doesn't start that way. 'Lift Off' is a prototypical Ozric Tentacles styled opening with whooshing synthesizers and ripping guitar solos. After that the album shows a wide array of influences. 'All the Way to Outer Space' has a strong bluesy hard rock twist, that is unusual in this type of setting. 'D-Walker' introduces the key ingredient to the album's success: Piano. There's something magical about the sound of the grand old dame of acoustic keyboards juxtaposed against modern synthesizers and electronics. 'Tranquility Base' introduces yet another form, that of electronica, though still very much rooted in space rock principles. 'Untitled Dream' sounds like an outtake from Edgar Froese's Ages album, and is heavily drenched in discordant mellotron (sampled I'm sure, but very well done). The album peaks on the 'Disintegrator' / 'Integrator' duet where the piano is quite prominent while the intensity is raised. By now you'll find yourself fully immersed into their sound. 'Reflections' adds electric sitar to great effect. Every track is great, and most feature well written compositions and melodies. This is a far cry from your garden variety jamming space rock band. If looking for something different in the space rock field, give this one a shot.

Ownership: 2007 Dead Earnest (CD). Acquired in 2011.

3/13/11; 5/11/18 (review)

Tri-Angle Waves (2009)

Secret Saucer are an Ohio based group (not far from Cleveland), who've been around more or less for about ten years or so. Tri-Angle Waves is their 3rd album. There's little here you haven't heard before, but a good space rock jam is still exciting to hear, that moment when it all comes together, and the fiery guitar solo sends you over the edge. All the genre's norms are on display here: Swooshing synthesizers, blazing guitars with as many effects applied as possible, constant heavy bass and drums - and with very little attention paid to meter shifting or dynamics... or melody. With Secret Saucer, you're getting exactly what you came for. When you go to In-N-Out Burger, you want a good cheeseburger, not foie gras. And Secret Saucer serves up a mean cheeseburger.

Former ownership: 2009 Salad Farm Studio (CD). Acquired in 2011. Downsized in 2022.

2/8/11 (review); 7/27/22 (update)

Secret Saucer went on to release four more studio albums. I certainly would be up for hearing any and all at some point. Four on the Floor seems to be the consensus favorite to date.

2/8/11 (new entry)

Ashbury ~ USA ~ Tucson, Arizona

Endless Skies (1983)

Ashbury South were a hard rock band from Oklahoma that relocated to Tucson, Arizona before hitting the studio to release their sole album until modern times. Though released in 1983, the band's appearance, their overall sound, and album cover all look like it's still 1977. Musically Ashbury were all over the map, not atypical of the 70s aesthetic. A3 to A5 demonstrates this. 'Twilight' is a short instrumental acoustic guitar number. This is followed by 'Vengeance' that sounds every bit like Black Sabbath circa Sabotage. 'Madman' is similar to a more rocking America and then breaks into a sharp Outlaws styled guitar jam. 'Hard Fight' starts off the B side with what could pass for one of Kansas' more introspective compositions complete with an excellent guitar solo closer. 'No Mourning' is a very Southern rock instrumental with heavy emphasis on the guitar. It's this latter element that ultimately makes Endless Skies such an endearing album. The title track brings both the dog and the butterfly, with a nice mid-song heavy riff, plus a strong closing. I hear Ashbury as something quintessentially American and of its era. The can-do spirit of the 70s, with musicians putting everything they had into one private recording and hoping for the best. Ultimately Endless Skies was too late for the early 80s hard rock buying audience, one that had moved either to slick MTV styled rock, or embraced more aggressive metal positions. The varied approach Ashbury chose wasn't enough to catch the ears of those that mattered.

Ownership: 2019 High Roller (LP) Green vinyl. Has a lyric insert with a brief band history, plus a giant poster of the cool cover art. Also has an insert with the rather impressive amount of albums the German label High Roller had released up until that time. Acquired in 2025.

6/24/11; 9/11/25 (review)

Ashbury reformed in the 2010's but I haven't heard anything else by the band.

9/11/25 (new entry)

Sergius Golowin ~ Germany

Lord Krishna von Goloka (1973)

Part of the Holy Trinity of Rolf-Ulrich Kaiser's original Die Kosmischen Kuriere project. Schulze, Witthuser, Westrupp, and the Wallenstein boys are all on hand to create the ultimate trip to universal consciousness. Mid 40's Swiss citizen Sergius Golowin recites and whispers, in German, sacred texts surrounding the Bhagavad Gita. Walter Wegmuller paints the inner gatefold, and gives the game away as we see some dude playing flute in the fields for a dancing buxom topless woman. Always gets back to that doesn't it? Hey, whatever it takes.

Sucht Krischna Radha; Sucht Radha Krischna; Sucht Radha Radha; Sucht Krischna Krischna.

Esoteric psychedelic Krautrock at its finest here. Board the Vimanas and off to the heavens we go. No flight is complete without mellotron, tribal drums, and echoed guitar.

Ownership: 
1973 Die Kosmischen Kuriere (LP). Gatefold.

1996 Spalax (CD). Tri-fold digipak.

1989 (acquired); 1996; 9/8/25 (review / new entry)

Nucleus ~ England

We'll Talk About It Later (1971)

For whatever reason, I didn't document Nucleus' second album after digesting Elastic Rock initially. And it appears to have missed entirely the 2010 revisit of Elastic Rock. So I'm on my first listen in 21 years. My rating was higher on this title (RYM and ProgArchives both have it as the highest rated Nucleus studio album overall). Let's see if I can remember why.

Right from the off we are treated to much heavier rock sound than anything the predecessor displayed. A1 is a jamming great opener. A2 strangely reminds me of mid 70s Embryo with its funky wah wah guitar rhythm and soprano sax soloing. Once again, Nucleus were the pioneers. A3 is a lovely moody piece, calling out the best aspects of Elastic Rock. The title track has a wonderful loose electric feel that gets pretty freaky towards the end, also pointing to the best of the Kraut Fusion albums of the early 70s (some Embryo Rocksession here). B1 contains a heavy funk groove with trumpet soling on top, similar to Bitches Brew. Now Nucleus is in student mode, about time. B2 gets all muddy and grungy, love it. Ooh, vocals too. I like them. B3 revisits the primary 1916 theme from Elastic Rock, but in more fiery fashion, with added haunting vocals. Sax a bit too squeaky at the end for my liking.

Overall, this is much better than I remembered, and a classic of its kind. +1 listen and +2 on Elastic Rock. Essential jazz rock.

Ownership: 1994 BGO (2xCD). With Elastic Rock. Booklet with historical liner notes.

 

2004 (acquired); 9/8/25

Elastic Rock (1970)

All these years later, and I have yet to create an entry for Nucleus on UMR. If you don't count later Soft Machine that is. OK, let's start with some notes I found from 21 years ago.

---2004

Better late than never, but Nucleus is a group I had somehow managed to avoid until now. Mixed bag of Brit jazz, Tony Williams’ Lifetime, Canterbury melody, even some Bacharach / Alpert inspired tunes. As many have noted, it's ridiculous how much Krautrock legends Alcatraz rip ‘Torrid Zone’ (and ‘Earth Mother’) on ‘Simple Headphone Mind’ (sure, I like what Alcatraz did with the piece – but how about some credit to Nucleus?). So a Miles Davis / cocktail / Soft Machine blend for the 007 crowd. Listen to some cool proto-fusion and light a cigarette for Barbara Bain.

---9/8/25

That's a good summary of my now-current thoughts considering I didn't have much background at the time. Today I hear this very much like a 1970 era English jazz album that I'm now more familiar with. I noted later that year on a quick revisit how much I really enjoy 'Taranaki' with its gorgeous melody and smooth groove. It's way too short unfortunately. '1916 (Battle of Boogaloo)' is another highlight. 'Torrid Zone' is brilliant, of course. Some pretty intense rhythms on that one. B4 is a drum solo, but it's short. 'Persephones Jive' is an excellent energetic closer.

Ownership: 1994 BGO (2xCD). With We'll Talk About It Later. Booklet with historical liner notes.

2004 (acquired / review); 5/3/10; 9/8/25 (update)

Other albums I own and need to review: Solar Plexus; Belladonna; Under the Sun

9/8/25 (new entry)

Gruppo d'Alternativa ~ Italy

Ipotesi (1972)

Ipotesi starts off in the grand tradition of Italian prog with some native narration, similar to I Giganti and Pholas Dactylus. Some fluttering flute, organ, guitar, bassoon, piano, and impassioned vocals follow. Oh yea, this is the classic Italian prog sound as we know and love it. The jarring dynamic and meter changes equate to elements of Capitolo 6 and Osanna. There's a bit of underlying folk recalling the pastoral moments of Formula 3 and Premiata Forneria Marconi. There's also a light amount of chamber classical music, leading some to compare it to the not-known-yet RIO movement. I see it more of being a highly creative one-off album that did not follow any particular movement, nor did anyone hold then up as an example to imitate. There's also plenty of loose jamming on Side 2 that I find highly appealing in what one would think to be a highly structured setting.

Interesting to note that the narrative one must follow on RYM is that the vocals are terrible. No idea where that notion comes from. They are of-the-era and of-the-scene. Histrionic and passionate, I wouldn't want to hear it any other way.

There weren't a whole lot of Italian progressive rock albums from the early 1970s that were still relatively unknown going into the current century, but Ipotesi was one of them. The album was completely ignored in the reissue market until 2007. I recall hearing about Gruppo d'Alternativa in the 90s, but the running narrative of the catalogs of the time was that they were "experimental" which has a different meaning to me than what the group were about. No more or less experimental than Pholas Dactylus, an accepted classic even back then. So I too ignored this album, which was an obvious mistake. Acquired the LP some 17 years ago, and never looked back.

Ownership: 1972 Harvest (LP). Gatefold. The stock image from Discogs is brighter than the actual album.

2008 (acquired); 9/8/25 (review / new entry) 

War ~ USA ~ Los Angeles, California

War Live (1974)

One of the biggest challenges with collecting War is that their albums are almost always wrecked. Partied out as we used to say. This one wasn't too bad, and at 69 cents, I'm grabbing it. Nice to see that RYM has this as their highest rated album. And most of the tracks have long durations, almost assuring us of a jam session. The only representative of their commercial side is 'The Cisco Kid', so this should prove to be quite the experience. And? Well not really. War is really a soul group playing funk and Latin rock. This isn't Mandrill or Malo by any stretch. When they do jam, it's not really of the intense variety, which is what I was hoping for. Everyone gets their turn, and it sort meanders about. Nothing wrong with that of course, as I'm sure it was a fun concert. Good album on the whole, but not something I need to keep.

Source: 1974 United Artists (2xLP)

6/16/15; 9/6/25 (review) 

War (1971)

I had high hopes for this early effort, but it fell flat to my ears. Mostly this is soul... funk music, with an obvious emphasis on the former. Which can be OK, if the melodies stick. But I'm afraid they didn't with me. The exception here is the album closer 'Fidel's Fantasy', which can only be categorized as weird. And there's a segment in the middle where Charles Miller's flute sounds almost Krautrock like. Lyrically they're going after Castro, which is refreshing during an era where there was too much sympathy for thugs like him. Sort of like today. Hmmm. Comes in a very fine gatefold, and my copy has the "war bond". This was inserted into early copies, and was good for "$1 off for 2 tickets" through Dec. 1973. That sounds trivial today, but concerts didn't used to cost so much, so $1 was a reasonable coupon.

Source: 1971 United Artists (LP)

8/18/21 (review)

Deliver the Word (1973)

After hearing the instrumental opener 'H2 Overture' I thought I was in for a monster of a session. 'In Your Eyes' is a strong follow-up, and this is exactly what I look for in a Latin-tinged funk soul album. Things begin to slip on 'Gypsy Man' which is a fine composition, but there's not enough here to justify its 11+ minute length. 'Me and Baby Brother' is what I would consider the signature sound of War, which isn't necessarily what I like about them most. 'Southern Part of Texas' recalls 'Gypsy Man' to an extent. The title track is the highlight of Side 2 and is a sweet song. 'Blister' is an atmospheric closer. Deliver the Word doesn't live up to the promise of its beginning, but it's definitely a keeper. 

Former ownership: 1973 United Artists (LP). Die-cut textured cover. Acquired in 2021. Downsized in 2026.

3/29/21 (review)

9/6/25 (new entry)

Ted Nugent | The Amboy Dukes ~ USA ~ Detroit, Michigan

The Amboy Dukes - Migration (1969)

Migration has such an interesting opening for a band like the The Amboy Dukes. The title track is a full length psychedelic instrumental followed by the somewhat proggy 'Prodigal Man', complete with an organ soul jazz bit, despite the short drum solo. 'For His Namesake' is really great, very psychedelic with plenty of early progressive rock ideas. I love Nugent's psych tone here, something that would have been cool for him to bring back at some point in his career (90s and beyond). Andy Solomon's organ adds a unique twist, bringing the sound closer to the Bosstown sound of the era. B1 is a bit silly, but the follow up is a killer slice of psych, as is B3. B4 is a bit strange and improves as it goes. Solomon only gets one of his songs in, and he brings in some soul funk, giving it a local Detroit edge. Nugent closes the album with his own hard edged funk track. Migration is a vast improvement compared to their debut. In reading reviews, the major trajectory happened on the predecessor Journey to the Center of the Mind. I'm familiar with the song, but remarkably have yet to hear the album. Hopefully I'll find a copy at some point.

Ownership: 1969 Mainstream (LP)

9/5/25 (acquired / review)

Cat Scratch Fever (1977)

Ah Terrible Ted. Love him or hate him one cannot deny his presence on the worldwide hard rock stage. I enjoy his first two solo studio albums, and this is his third and most popular. It's been over 40 years since I heard it in full, going back to early high school. This is certainly better than I remembered and a few of these tracks received airplay back then. It's fairly melodic too, conjuring up Nugent's past with The Amboy Dukes. He was a superstar during this time, and Cat Scratch Fever helped solidify his reputation. He was to lose his edge shortly thereafter, but he still was a major force as a live act, and one I got to see in 1980. Full of energy that man was.

Former ownership: 1977 Epic (LP). Gatefold

1979; 8/18/24 (review)

The Amboy Dukes (1967)

The Amboy Dukes debut, and Ted Nugent's first appearance. On a psych album, contrary to his image. Pretty good effort, mixing his hard rock tendencies with flower power sounds and ideas. B1 is fairly dull but most of this is satisfying on some level. Is that Nuge playing the sitar? Hard to even fathom.

Ownership: 1967 Mainstream (LP)

8/12/24 (acquired / review)

Nugent (1982)

If the Nuge had kept his mouth shut, his albums would likely garner more of a following today. But in the music collecting world, he is persona non grata, for right or wrong. As such his records end up in free boxes, and no one still wants them. Of course the album known as Nugent is hardly on anyone's Ted Nugent wish list to begin with. I'd never heard it, so why not, can't beat the price (free). At this stage of his life, he was trying to shed his Terrible Ted image, and go all sensitive. The music doesn't reflect that image though. It's mostly straightforward boring - and very dull - hard rock. However, there is one great track and that's the finale known as 'Tailgunner'. This sadly unknown track was wasted here, but recalls the glory days of 'Stranglehold'. So overall it was worth hearing for that. 

Source: 1982 Atlantic (LP)

4/6/23 (review)

Double Live Gonzo! (1978) 

I have a soft spot for Terrible Ted, since he was the first major arena concert I ever saw, only a year plus after this live release. It's a strange mix, in that it completely ignores Free For All (very good album), or even his latest release at the time - Weekend Warriors (not so good). The majority of the double album is culled from his fertile 1974-75 period which includes his last album with The Amboy Dukes name (Tooth, Fang & Claw) as well as his famed self-titled debut. It's a very good energetic set, but I'm fine with the few Nugent albums I already own. And Nugent isn't the greatest guitar improviser. 

Source: 1978 Epic (2xLP)

7/7/21 (review)

Other albums I own and need to review: Ted Nugent (1975); Free For All

9/5/25 (new entry)

Davie Allan and The Arrows ~ USA ~ Los Angeles, California

Vol. II The Wild Angels (1966)

And now, after all these years, I've finally heard a vintage Davie Allan and The Arrows album. 1966 is a bit early in the game to have a relevant psych album, though the opener certainly indicates what it could have been. Mostly this is exploitation, where the titles and concept are far more radical than the music within. 'Arriba' is mariachi for crying out loud. At this point, Allan and his motley crew aren't really that far from Dick Dale and his surfing buddies from a few years before.

Source: 1966 Tower Mono (LP)

9/4/25 (review)
 

Fuzz Fest (1996)

In the year 2000, I had a friend who owned a record store in the Denver area, and who owed me a few dollars from a previous transaction. He told me to stop by and pick out anything I wanted. So after finding a couple of gems, I was still about $10 short. I couldn't find anything of interest, so after mulling about for 30 minutes, I just settled on a sealed LP of Fuzz Fest.

I'd heard of Davie Allan & The Arrows, but never heard their music prior. That remains true even today, 18 years later (I mean the classic mid 60s stuff of course). Based on the reviews I've seen, I can pretty much ascertain where the music will fall. And I think that bias tainted my initial listen, as 1) I recall little about it and 2) I just figured this was some dude in his 50s recreating - or cashing in on - a past legacy.

Wrong! Hold that thought.

In the early 90s the American label I.R.S. had a popular series (in the underground anyway) called Guitar Speak. In effect, these were various artists albums where a famous guitarist from the 60s and 70s (anyone from Montrose to Akkerman to Iommi and beyond) would provide a unique guitar based instrumental track. These albums were surprisingly quite good, and most of the guitarists did not succumb to showboating or shredding.

Davie Allan would have been a perfect fit for the above series (many released a full album of similar). Of course the biker themes are still prevalent throughout, but this is not some cornball soundtrack - and it most certainly is not Surf Rock! The Ventures will not enter your mind here. What you get is 15 (14 in my case because I have the LP) quality guitar instrumentals. Every once in a while a mid 60s styled motif would appear, but mostly this sounds every bit like a modern instrumental rock album - with lots of cool fuzz guitar. All the songs are well thought out, and there's plenty to derive out of each one.

Really surprised the heck out of me. A definite keeper.

Ownership: 1998 Total Energy (LP)

2000 (acquired); 8/25/18 (review)

8/25/18 (new entry)

Wishbone Ash ~ England

Front Page News (1977)

Wishbone Ash are one of those bands that went on for year after year and hardly anyone noticed. By my count, 23 new-material studio albums all the way through 2020. I certainly wouldn't mind finding any of their modern CDs in the thrift bins, but they haven't turned up yet. But this older LP did, so why not try it for 69 cents? Seems the band would have been better served playing up their hard rock tendencies after 1974, but it appears they shifted course. Here they sound like Steely Dan at times, which is... odd. Wishbone Ash and Yacht Rock are terms that don't go together very well. It's not a bad album at all, as they accomplish what they set out to do. Other than create a memorable hit. It's soft and breezy rock, with some fine guitar as to be expected. So apparently they went back to their roots after this album. In reading their checkered history, there seems to be a lot of meat left on this Wishbone for me to seek out. Looking forward to finding them as I go. This title isn't necessary for me, though.

Source: 1977 MCA (LP)

9/4/25 (review)
 

There's the Rub (1974)

This title continues to get better to my ears. I'm not the foremost Wishbone Ash fan, but the last two that I've taken in with intent to sell have each experienced +1 listens (the other being Pilgrimage below). For 1974, There's the Rub maintains a surprising psych flavor in the harmonies and song structures. There's also some crunching hard rock as well. And I really do enjoy the final nine plus minute jam. Pity about the cover, though it can make a legitimate cricket claim. Sure it can.

Ownership: 2013 Geffen Japan (CD). Acquired in 2026.

1/7/20 (first acquired); 6/25/21 (review); 1/29/26 (update)

Pilgrimage (1971)

I was way late to the Wishbone Ash party. I used to see their albums going back to college in the mid 80s, and sampled a couple of them, but they weren't to my taste at the time. It wasn't until the CD era that I finally picked up a couple. To date, I have to say this is my favorite Wishbone Ash so far, beating the highly revered Argus and the debut (which was my fave prior). Mostly instrumental with some very inventive guitar sequences. More like Automatic Fine Tuning in this way. Hard rock that bleeds into prog. Final track is live and is more trad blues, which might not have been the best way to spend ten minutes. Not to end on a sour note (like they did), Pilgrimage is essential.

Ownership: 1971 Decca USA (LP). Gatefold. Acquired in 2021.

2/26/21 (review)

Other albums I own and need to review: Wishbone Ash; Live From Memphis (EP); Argus

12/10/21 (new entry)

Freddie Hubbard ~ USA

High Energy (1974)

When I wrote the below for Liquid Love, I didn't realize this album existed. RYM has it listed as a "Live" recording, but that's not really correct. It's "Live in the Studio", a whole different concept. High Energy certainly explains the trajectory from Sky Dive and Keep Your Soul Together to Liquid Love. The music has a jazz fusion slant as well, a style I wasn't certain Hubbard played in. Of course it makes sense he did since he was in and around that camp throughout the 70s. And Joe Sample has a Clavinet on hand, almost guaranteeing a certain funk element is present. Hubbard maintains a more in-control and traditional jazz approach to his trumpet soloing. Highlight for me is the funky trippy closer 'Too High'.

One wonders why this is a $5 record when so many others of its ilk go for multiples of that. Did it really sell that well to begin with? I doubt it. Likely low demand, which I find strange. Seriously, if you're into same era Miles or Eddie Henderson, you'd be into this. Maybe a bit more friendly and less intense. Nothing wrong with that.

Ownership: 1974 Columbia (LP). Acquired in 2025

9/2/25 (review)
 

Liquid Love (1975)

By 1975 Hubbard finally caved to the jazz funk movement and released Liquid Love, much to the dismay of jazz critics at the time. Even today, one sees a dramatic fall on his RYM ratings starting here. But how does it stack up against others who attempted similar? Extremely well in my opinion. It does start inauspiciously with Maria Muldaur's big hit 'Midnight at the Oasis'. As an instrumental cover tune it comes across as hokey. 'Put it In the Pocket' follows and doesn't elevate the proceedings much further. From that point forward the album becomes engaging and soulful. The title track is a 5 star knockout, with some of the smoothest grooves you'll ever hear. I only wish Ray Parker had dropped an Ernie Isley fuzz solo in the middle to make it one of the all-time greats. The album closes with the lengthy deep groove Miles Davis styled track 'Kuntu'. You'll find yourself immersed into the sea as the cover suggests.

Ownership: 1975 Columbia (LP). Acquired in 2025.

5/24/25 (review)
 

Sky Dive (1972) 

I really enjoy this period of friendly-to-the-ear jazz, that of melodic compositions and fine soloing. Sky Dive album brings together a slew of jazz A-listers, and the results bring me back to a musical era that needed to last longer. Yet another brilliant thick gatefold cover with intriguing art brought to us by Creed Taylor. In reading his biography, that was no accident. He firmly believed a great package would lead to more sales, and he was proven correct. Too bad not everyone saw that value.

Ownership: 1972 CTI (LP). Gatefold. Acquired in 2023

5/25/23; 10/20/24 (review)

Keep Your Soul Together (1973)

This was part of the jazz selection I bought last week and represents the first title for me to dig into. Despite being on CTI, and Hubbard all pimped out on the cover, this is no jazz funk title. Very much has that late 60s chill vibe. The kind of retro jazz they use as background on modern movies and TV shows. Take away George Cables' electric piano and it could be 1967. A very calm and easy listening album (with plenty of compositional thought) perfect for winding down the day. 

Former ownership: 1973 CTI (LP). Gatefold. Acquired in 2023.

4/5/23 (review)

4/5/23 (new entry)

Atoll ~ France

Tertio (1977)

Tertio was the very first progressive rock album for me to own from France (i.e. not electronic). Or at least one that sung in French versus Kobaian. I was still in college and had started my deep dive into other countries like Italy, Spain, and Sweden. With that comes the understanding that if you want to go forward with the international prog rock chase, you better be able to handle languages other than English. Honestly that wasn't too hard for me, as I was never a "lyric guy" anyway (and still not). And besides, who can understand half of the metal albums as it is? They might as well be singing in Bulgarian and I wouldn't know. While language wasn't a barrier, it would still be a few years before I truly appreciated language in song. The sound and the delivery of it. That's a different concept than lyric understanding. This concept, as it were, is arguably one of the great secret sauces of Italy's scene. And the same could be said for France and any of the other countries. At age 21, I still had a long way to go to grasp these nuances. Tertio is one of those albums that would have been better for me to discover in the 90s or later, as it does require an understanding of the language, culture, and 1977 time frame. This isn't the all-in progressive rock that I was expecting, rather a more subtle version. While there are commercial aspirations, this is no AOR album. It's sophisticated but not brash or jarring. Nonetheless, I kept everything in those days and worked hard at understanding what I had bought. While Tertio never really clicked with me back then, I did eventually appreciate the contents. And here we are almost 40 years later, and the title has never left the collection. Today it does click with me, in a big way. I was initially drawn in by the two part closer 'Tunnel' which is the most overtly progressive rock track on the album. Now I hear the other songs in a similar light. I imagine my trajectory through the French progressive rock landscape will be much different than most. It was truly exploration at the street level, finding albums at random record stores with no knowledge other than instincts. I feel fortunate that my journey unfolded in this manner. A bit of struggle is needed to fully appreciate what you have.

Ownership: 

1977 Eurodisc (LP). Gatefold.

2009 Arcangelo (CD). Papersleeve gatefold. Comes with the Musea booklet with English historical liner notes. 

1986 (acquired); 1996; 1/28/07; 2010; 9/1/25 (review)
 

Musiciens-Magiciens (1974)

When I first started collecting French progressive rock 30+ years ago, Atoll were a band that were often lumped in with Ange, Mona Lisa, and their various followers. But to my ears, Atoll comes from a different lyrical branch of the UK progressive rock tree. Whereas Ange and their lot took on Genesis, and further added a huge dose of French theatrical sensibilities, Atoll were much more influenced by Yes, and without the theatrics. I cannot understand at all the subtle, and in some cases blunt, accusation that Musiciens-Magiciens isn't even progressive rock at all. Are we listening to the same album? How does one hear 'Au-delà des écrans de Cristal' and come away with a different conclusion? Or any of Side 2 for that matter? If there's a spot on the LP where it might be a bit tough sledding it's the bookends of the 'Le Baladin du Temps' opus, where the vocals can get a bit whiny. Though honestly any veteran of Italian progressive rock will recognize the SSW crooning from the off. It was of-the-era. Otherwise what one hears is the pure definition of progressive rock - complex meters, woody bass, great guitar and organ work, and energetic drumming. This is really the only album like this in Atoll's canon, as their next LP, L'Araignee Mal takes on a more sinister stance along with fusion elements, and is arguably their masterpiece. On this point we all agree. From there the band moved onto more accessible waters, with Tertio closing out in fine style before the band lost the plot altogether. But I maintain my stance that Musiciens-Magiciens is essential progressive rock from France.

The live bonus tracks on the CD are really rough in the sound department, not even good enough for bonus honestly, but they can be skipped.

Ownership: 

1974 Eurodisc (LP) Gatefold.

2009 Arcangelo (CD). Papersleeve gatefold. Comes with the Musea booklet with English historical liner notes. 

1989 (first acquired); 1/4/19 (review)

Also own and need to review L'Araignee Mal.

1/4/19 (new entry)

Syzygy ~ USA ~ Cleveland, Ohio

The Allegory of Light (2003)

When you name your band Syzygy, you are already making the declaration that you really don't care if anyone knows who you are, or if they can even remember your name. Almost impossible to spell on recall, I've got it on ctrl-v throughout this listen. Syzygy was born out of Witsend, a Cleveland, Ohio based band who released a charming demo-like album back in 1993 called Cosmos and Chaos (that I since sold). Ten years later, and a legal ruling demanding they change their name, Syzygy debuts with The Allegory of Light. 

Considerably more professional than their first effort, the album screams the region they are from. Hello Midwest! As I've documented endlessly, the mid to late 1970s saw hundreds of bands from the area coming out of the garage closet, and make a go at the major UK progressive rock bands we all knew over here via FM radio: Yes, Genesis, ELP, and Gentle Giant prominent among them. Kansas being the grand local champion of the era, it is only natural that a modern band would mix in all of the above. Then add in other influences that showed up in the 90s like Dream Theater, Porcupine Tree, Marillion, and the rest of them. In the 2000s, it seemed a determination by many a musician that they could out-prog the most proggy among them. 

What separates Syzygy from the pack is their fine use of counterpoint, as well as attention to the song. Melody does matter, as it turns out. These latter qualities are what made 70s prog so endearing, especially the American version. The more amateur, the better. Well these guys are pro, but the music is highly listenable, and one doesn't sense we are being condescended to as mere fans. And fortunately they left the metal component at the door. There were plenty of groups on that bus already.

Syzygy are a microgenre entity. If you like the Midwest prog sound as much as I do, then this album is going to resonate more to you than others who don't have this sound burned into their DNA (yet). Otherwise, it may come across as a bit too complex. 

Ownership: 2003 private (CD). Poster booklet with lyrics and recording details.

2009 (acquired); 9/1/25 (review)

Also own and need to review Realms of Eternity.

9/1/25 (new entry)

Beggars Opera ~ Scotland

Act One (1970)

Beggar's Opera were a band from Scotland, who like many from the British Isles, brought forth a highly spirited form of organ focused rock heavily influenced by classical music. Similar to Rare Bird, The Nice, Deep Purple (Mk. 1), Fields, and ELP in that way. However, the group wasn't above kickin' out the jams with some fine psychedelic guitar soloing courtesy of Rick Gardiner. And 'Raymond's Road' brings an intensity that recalls Aardvark in a similar mood with added guitar.

The CD adds their debut 1971 single. 'Sarabande' begins with a riff from A2 of Act One before breaking into a different mid section. It's also a heavier rendition. 'Think' foreshadows their more thoughtful next work Waters of Change, though still on the heavier side of the rock spectrum. Hopefully I'll find it in the wilds someday (not expensive online, and was released here in the States on Verve). Until then, I think I'll hold onto the CD.

Ownership: 

1970 Vertigo Germany (LP). Gatefold. Swirl label. Acquired in 2022.

2006 Vertigo Japan (CD). Papersleeve gatefold with the two above bonus tracks. Acquired in 2009.

First copy: 1990 Verve (LP). Gatefold. Acquired in 1993.

1993; 1996; 7/1/09; 9/1/25 (review)
 

Waters of Change (1971)

Beggars Opera's second effort is one of the more overlooked albums from the rich progressive rock landscape of 1971. The key track here is 'I've No Idea', as in I've no idea why it's taken me so many years to review this album. And I've no idea why I didn't recognize its brilliance until last night. While the band may have toned down their sound from Act One, they raised their game in the songwriting department. Waters of Change represents that wonderful 1971 UK progressive rock sound as also found in bands as diverse as Cressida, Gracious, Nektar, and Uriah Heep. They have quite a large ensemble, including a full time mellotron player, who happens to be female and is strongly involved in the songwriting. This gives a unique slant on the otherwise testosterone driven genre, especially back in those days. Alan Park's organ, though, wins the day, as he did on Act One. Outside of the interludes, including the somewhat silly 'Silver Peacock Intro', all the songs here are quite involved, well thought out, highly melodic, and great for listening over and over.

Ownership: 

1974 Vertigo Germany (LP). Gatefold. Spaceship label. Acquired in 2012.

1995 Repertoire (CD). Liner notes written by Chris Welch. Acquired in 1996.

1//96; 8/16/13; 6/7/18 (review)

Previously owned: Pathfinder.

6/7/18 (new entry)

Argent ~ England

Counterpoints (1975)

About four years ago I was on quite the Argent kick. They were a band I largely ignored until finding the live album during the pandemic. That was then followed by Nexus and the box set that possessed their first four albums. I since sold Encore and the box, with the anticipation that I would eventually find the Argent studio albums on vinyl. But that surprisingly didn't happen, and Counterpoints is the first one for me to find in the wilds since 2021. It's also the end of their trio of progressive rock albums before essentially calling it a day as a band. I've put my views on the box set at the end of this post, and perhaps I'll flesh each out individually as I find them. I haven't heard Counterpoints or its predecessor Circus, so it's time for me to get back on the Argent saddle. 

Mellotron on the opening cut, and yes, heavy counterpoint on tracks 2 and 3 immediately point to both Yes and Gentle Giant right up front. The next song sort of floats by and then we're introduced to the jazz fusion side of the band to close out the side. No doubt Phil Collins bringing his Brand X influence with him. Guitarist John Grimaldi gets to show off his chops here. B2 is the type of song Russ Ballard would throw in, so it's placement here is unnecessary for their new direction. B4 is another curveball and reminds me of Santana at his soulful best, complete with mellotron no less.

Interesting to read that both RYM and ProgArchives have this album rated quite low. And I wouldn't be surprised if Gnosis was there as well. It's a mite inconsistent and it doesn't possess any real highs, but it is solid 1975 English prog fare. I also noticed the 3rd track is called 'Time' and I was strangely reminded of the post Spontaneous Combustion group. Perhaps not that all-in progressive, but there are moments that had me thinking about them. Also Druid sort of floated to the top. Yea, I'm keeping this.

One other curiosity: Counterpoints has never been reissued legit on CD. Sure, there's the always questionable Big Pink version, but nothing that screams specialist label. Seems like a rescue project for Wounded Bird or Iconoclassic.

Ownership: 1976 United Artists (LP). Acquired in 2025.

8/30/25 (review)
 

Nexus (1974)

By this point, Argent are two completely different groups. One is lead by Argent and bassist Chris White; the other by guitarist Russ Ballard. And never the twain shall meet. Argent and White are pretty much in full-on Yes territory by this point, and all their compositions are very satisfying. Ballard is busy trying to create hits, though mostly he succeeded at writing some good hard rockers this go round, especially on side 2, which he pretty much owns. I found myself enjoying this one quite a bit.

Ownership: 1974 Epic (LP). Acquired in 2021.

3/14/21 (review)

  

Encore (1974)

All these years later, and I really don't know much about Rod Argent's music. Some of his work with The Zombies of course. And then 'Hold Your Head Up' was still getting regular radio airplay in the late 70s and early 80s. I was always intrigued by that song, though honestly it never seemed to hold my attention for the track length. And that's about all I knew. Their albums have always been easily available, but I never bothered to investigate. So when this double live album found its way to a local thrift shop - and in excellent condition - what the heck, let's blow the $2 and see what happens. As the track lengths indicate, Argent stretches out instrumentally in a live setting, and this works to their advantage - or so it seems. Though I'm not familiar with the studio versions as noted above. The reviews I've read are mixed about this live effort. Argent himself makes these compositions work, with some fine organ soloing and mellotron bits. Of course there's plenty of guitar from Russ Ballard as well. Good place for me to start. I'll definitely be digging in the bins for their studio albums too.

Former ownership: 1974 Epic (2xLP). Acquired in 2020

8/6/20 (review)

Original Album Classics. 2009 Epic Legacy (5xCD). I don't really have much background with Argent, so finding this box set with the rest of the sale was a thrill. I discuss my history with Argent on the Encore post as well as on Nexus, which is the 5th album in this set. And probably my favorite. The debut still has a Zombies leftover psych feel. It's a very good album, though maybe not enough to convince me to pursue further. Along with Nexus, I think Ring of Hands is the best album here. Very strong early progressive rock work, with superb organ and guitar. All Together Now loses some of the momentum, though it features their most known (and excellent) cut 'Hold Your Head Up'. In Deep is even lesser to my interest as Argent are getting further away from progressive rock, and more towards standard radio fare. Fortunately they reversed gears on Nexus. This box set has no bonus tracks to supplement. Since I already have Nexus on vinyl, I can let this one go, and will look for Ring of Hands separately (LP or CD depending on what I find). I don't think the debut and All Together Now would survive on their own, though both definitely are worth checking out.

10/26/21 - 10/27/21 (review)

8/6/20 (new entry)

D.F.A. (Duty Free Area) ~ Italy

4th (2008)

4th is another one of those albums I haven't heard since acquisition. This would prove to be D.F.A.'s last album due to tragedy. It is possible they could return but nothing has transpired. The album title is a bit of a misnomer since their 3rd album was a live effort culled from the two albums below. 

Speaking of those two albums, 4th takes those as a base and you can tell they've really progressed on a professional level. What makes D.F.A. so great is their ability to craft memorable melodies inside of the intense and edgy instrumental work. They provide rough analog fuzzy rock within the confines of jazz fusion. Making it more progressive rock oriented than what we usually hear coming from the jazz school. I love the acidic guitar tone that Silvio Minella obtains. Plenty of Hammond organ and flute as well from Alberto Bonomi to add to their adoption of the 1970s sound. The counterpoint mentioned below is still in full force here. This is an album that is both exciting and difficult to predict. The kind of progressive rock that captured my imagination at age 15, and some 46 years later that I still love and enjoy.

All three D.F.A. studio albums proved to be brilliant works. I'm not sure what else the band had left to prove anyway, though I know they would have liked to end it on their own terms.

Ownership: 2008 Moonjune (CD). Tri-fold digipak with lyrics, recording details, and band photo.

2008 (acquired); 8/25/25 (review)
 

Lavori in Corso (1996)

When this album first hit the scene, it was a marvel. One of the most exciting releases from Italy, and it really has nothing to do with classic Italian prog. Rather it is rooted in complex fusion with hard rock overtones. Just demonstrates that having a digital sound doesn't mean the album has to suck. D.F.A. (Duty Free Area) - along with others from the 90s - proved that. The music here is jumpy, melodic, kinetic, and constantly challenging. I've owned it since it first came out, and 24 years later, it sounds as great as ever. Don't miss out, if this is the first time you're hearing of the D.F.A. name.

Ownership: 1996 Scolopendra (CD)

4//97 (acquired); 4/29/20 (review)

Duty Free Area (1999)

D.F.A. play what I'd call counterpoint fusion with a space rock edge. They should trademark their sound, as I can't think of anyone who sounds quite like them. A little bit like Deus Ex Machina maybe, in their most intensive instrumental sections. The often jagged rhythms seem to create a sense of urgency, when it is really a facade. But it's a great trick, and keeps me completely immersed into the music. Top that off with some vicious solos right out of the space rock school, perhaps even with a modern bent ala Ozric Tentacles.

Ownership: 1999 Mellow (CD)

2000 (acquired); 2/14/10; 6/28/11 (review); 10/14/23

6/28/11 (new entry)

Kraftwerk ~ Germany

Kraftwerk (1970)

After taking in Kraftwerk 2 for the first time in many years, how does the debut sound to me? I always considered this their masterwork, an album that was at the vanguard of the Krautrock movement, a genre the band moved away from quickly. 

The opening echoed flutes and hypnotic drum pattern (real drums at this point) that slowly increases its pace, is the perfect start. Conny Plank's fingerprints are all over this with phasing galore, almost defining the term Krautrock for us before our very own eyes and ears. After this rocking opener, the real experimental sets in with 'Stratovarius'. After the musique concrete start, we are treated to some psychedelic guitar in the same reckless manner as Tangerine Dream's Electronic Meditation, not something one would normally associate with Kraftwerk. 'Megaherz' is an ambient piece built around the organ, paving the road for a subgenre that was years away from fruition. Closer 'Von Himmel Hoch' has the perfect doomy Krautrock electronic atmosphere that leads to a rocking middle. Then back to an experimental bit before jamming out hard on the keyboards (some kind of early synthesizer), fuzzed out bass, and funky drums.

Overall the album reminds me of the excitement surrounding the exploration of new music within a rock setting. The German underground of 1969 to 1972 is the epitome of that mindset. Kraftwerk's debut is one of those pillars.

Ownership: 1970 Philips (LP). Gatefold. Acquired in 2026. After many years, I finally secured a true original.

Previously owned: 1973 Vertigo UK (2xLP) with Kraftwerk 2. Gatefold. Acquired in 2015.

I don't show a lot of documented listens, but I absorbed this album quite a bit in the 90s (via a bootleg CD).

1996; 8/25/25

Kraftwerk 2 (1972)

The second effort from Kraftwerk is not an album I previously warmed up to, though I've been familiar with it for 30 years. I suspect it's because, to my ears at least, a far cry from their debut which is something I hear as a Krautrock classic (see above). So rather than listen to these in order per the double LP that I currently possess, I reversed the sequence to see how I would respond.

Much better I'm happy say. The A-side has their familiar bouncy repetitive sound with flute and guitar grounding it to the Krautrock circuit. The flip side is very experimental, at the level of Cluster (1971) and Tangerine Dream's Zeit. It's not an easy listen but works well if one is in a calm state of mind.

Interesting to note that many fans consider this their worst album. It's certainly their least accessible.

Former ownership: 1973 Vertigo UK (2xLP) with Kraftwerk (1970). Gatefold. Acquired in 2015.

1996 (first heard); 2008; 8/25/25 (review)
 

Autobahn (1974)

Probably the most famous of electronic albums coming from the early 70s, Kraftwerk managed to popularize a style that isn't necessarily geared for the masses. Not sure Autobahn is geared for that either, but the fact remains it was a big hit in its day. Perhaps more novelty driven than based on serious critical study. It's tempting to dismiss Autobahn as simplistic elementary school electronic music. Prep work for the serious albums of Tangerine Dream and Klaus Schulze. But that's just snobbery really. Kraftwerk had a different, perhaps pioneering outlook, even though they started like the rest of them as a wild and wooly Krautrock outfit. Honestly you can hear Tangerine Dream themselves copying the concepts of this album in the early 80s. The boys from Cluster leant an ear to it, that's for certain. If taking out the historical context, Autobahn is a pleasant listen, ironically nothing too forceful or impactful.

Ownership: 1974 Vertigo USA (LP)

10/21/19 (acquired); 4/20/23 (review)

---

Previously owned: Ralf & Florian

Perhaps unbelievably, but I haven't heard any of their classic works post Autobahn. It wasn't the type of music I was seeking out in the 1980s and 90s. Today I'm very much up to hearing them. I'm sure I'll find them eventually and report as I go.

For whatever reason, Kraftwerk has completely disowned their pre-Autobahn past (including Organisation) and refuses to allow for legal reissues (as of 7/4/26). Probably the most popular albums, in my collection at least, that never have been reissued.

4/20/23 (new entry)