Ako Doma - Aliens are Good for Sale. 2003 Slovakia

Aliens Are Good for Sale finds Ako Doma playing in a modern fusion mode. Gone is the saxophone, and with that, the charming Slovakian dance hall sound of their debut. In its place is a late era King Crimson sound, replete with angular guitar - at times with a metal crunch - modern synthesizers, and plenty of difficult music to plow though. If you like guitar oriented fusion, then this will be well worth your time. It's an instrumental style of modern music done countless times since the 90's, and Ako Doma prove to be more than capable to pull it off. Despite their obvious musical acumen, I miss the simple local flavor of the debut. One fellow collector calls out the Racine, Wisconsin based Kopecky as a reference - which is an excellent observation!

Ownership: CD: 2003 Lizard

11/6/12 (new entry)

Eskaton - 4 Visions. 1979 France

For my tastes, 4 Visions represents the absolute pinnacle of the Zeuhl style of music. While no doubt greatly influenced by the almighty Magma, Eskaton are really an entirely different branch off this massive tree. Those who call it a Magma clone are clearly scratching at the surface. For one, they sing in French rather than the made-up Germanic Kobian language. Secondly all the vocals are sung by two females, often in harmony or counterpoint. Thirdly, the band plays in hyper-drive throughout. Magma are experts at building up climaxes. Eskaton are experts at releasing climaxes... for the entire album! And finally, like all Zeuhl bassists, Andre Bernardi is a beast - but his style isn't the pound your senses into oblivion like Top or Paganotti, but rather one that shreds like a thrash metal act. Get your air bass guitar out when listening, you're going to need it. While all 4 compositions are brilliant, the middle two 'Attente' and 'Ecoute' possess truly sublime melodic moments that will raise the hair on the back of your neck. 4 Visions is one 40+ minute peak experience, and truly in my all-time Top 10. I would give this a 16 on Gnosis if they'd let me.

Ownership: CD: 1995 APM (Sweden). Jewel case release with one bonus track.

LP: 2013 Soleil Zeuhl. Single sleeve. Copy #67/500.

I first heard this album back in 1992 when a friend dubbed his cassette for me. I was absolutely floored by the music. It had been one of the greatest things I'd ever heard to that point (and still is frankly). But the cassette was extinct, and I wasn't about to kill myself looking for a manufactured cassette. The dub would have to do. So when the Swedish label APM was the first market with a CD, I bought one faster than the speed of light. Everything about the CD was better: The sound, the cover - it was just a magnificent reissue. In the 1990's APM was at the top of the best reissue (and contemporary) labels in the world. But sadly they went out of business in 1997. And, not surprisingly, 4 Visions sold out and became highly desirable again. Enter Soleil Zeuhl, one of today's better reissue labels. They had been successful in reissuing the other two Eskaton albums, and demand was building for a new print of 4 Visions, so they put a new one out on the market. The APM version had one bonus track, and the Soleil Zeuhl release features 4 bonus tracks - and different from the APM one. For copyright reasons, Soleil Zeuhl used different artwork (as seen here), which has proven to be somewhat controversial. Many fans wanted the "blue" APM cover. As such, this had given Soleil Zeuhl pause to reissue this one on LP, but they went forward with it anyway (with the original cover), and now it's rare too! I bought mine upon release.

9/19/92 (first listen); 1995; 2009; 11/5/12 (review / new entry); 7/26/24

Hermann Szobel - Szobel. 1976 USA-New York

An album that is complex as all get out by 18 year old prodigy pianist. Szobel has a distinct avant progressive flavor to it, though I suspect there's no intention of going for that sound per se. Instrumental Frank Zappa is an obvious influence here, with some tight wind charts, and I'm betting that Hermann Szobel may have heard a Henry Cow album or two.

So I first wrote the above sketch in 2006. I've since been told that Szobel was largely ignorant of contemporary music, which seems to be consistent with his very eccentric personality. Even today, no one knows exactly where he is. He's pretty much disappeared into the ether.

Ownership: LP: 1976 Arista. Single sleeve. Label as shown here (but without any markings). Recent antique mall acquisition (2024).

CD: 2012 Laser's Edge. Jewel case. Features great sound, unseen photos, and excellent historical liner notes.

The Flatiron building is still my favorite skyscraper, and quite an engineering marvel for 1902. So any album cover that features it, I'm likely to appreciate. Szobel is certainly one of Arista's most obscure releases. Arista started as a "progressive" label, much like Virgin did, but by 1978 they were already hopelessly signing commercial slop.

2006; 11/3/12 (new entry)

Resan ~ Sweden

Resan (1973)

A very unusual album indeed, this Resan is. Formed from the ashes of the hard rocking band Life, Resan start out in a similar terrain to the The Beatles White Album, though sung/spoken in Swedish mind you. Fortunately from here they begin drifting off onto a folky flute number ala Träd, Gräs och Stenar ('Vakuum'). And then the real party starts, with the remainder containing long, energetic, acid guitar driven numbers, some freaky percussion bits, spaced out flute, dreamy cosmic pieces and an overall general sense of the psychedelic. Would've been a perfect fit for the Silence label. I could see where this album wouldn't be well received by many, given its eclectic nature, but I found most of it interesting at least. The apex of the album is the 8+ minute '05:00'.

Ownership: 2012 Subliminal Sounds (LP). Both sides of the insert feature an informative essay from noted guitarist (and fellow collector) Reine Fiske .

Not reissued on CD as of 2/21/25.

2008 (first listen); 10/31/12 (review / new entry)

Xhol Caravan - Motherf*ckers Live. 1968-69 Germany (archival)

Xhol Caravan's debut Electrip is generally considered the first true Krautrock album, at least as the term is commonly understood. So one can only imagine the glee that Steve Stapleton must've felt when he was able to put his hands on these tapes from 1968! This is a truly extraordinary historical document, and shows that Xhol Caravan had long since ditched their soul roots as found on Get on High from 1967. The 57 minute 'Freedom Opera' suite is not easy listening, and there are frequent bouts of noise and free jazz to endure, but also plenty of reckless psychedelic abandon as only the Germans knew how to do. Psychotic ramblings, wailing sax, flute, fuzz guitar and organ are the ingredients for this once-in-a-lifetime recording. The WDR Radio session from a year later shows the band is progressing rapidly, incorporating more melody into the proceedings. For the most part, this one stays in the rails, and is like an extended version of the best parts of Electrip. This double CD is essential for fans.

CD: 2001 United Durtro (UK)

Tanger ~ Argentina

Mundos Parelelos (2008)

With Mundos Parelelos, Tanger finally carries the same lineup forward. Not surprisingly, the sound doesn't evolve much. Though it's clear that Tanger are beginning to slow down as rockers, and the flute becomes even more of the focus. At this point, Tanger are starting to resemble the Catalonian group Gotic more than Humus and King Crimson, though that's overstating it somewhat.

Ownership: 2008 Viejero Inmovil (CD). Cardboard gatefold. Acquired in 2012.

10/24/12 (review); 9/14/23

Ciudad (2006)

Once again Tanger changes the lineup on Ciudad, this time replacing the guitarist and the drummer. And as per protocol, not much changes regarding the music. The psychedelic aura is perhaps slightly more toned down, and melodic interplay is more championed. At this point, Tanger are sounding more like an updated version of the obscure 1970s Chilean group Blops at the time of Locomotora.

Ownership: 2006 Viejero Inmovil (CD). Acquired in 2007.

2/1/07; 10/23/12 (review)

La Otra Cara (2002)

Very little changes from their debut on Tanger's sophomore effort La Otra Cara, perhaps only scaling back the excess slightly, with only one of the (again) 12 songs exceeding the five minute mark. It is interesting to note that Tanger did swap out flautists, and yet you wouldn't notice unless you had a scorecard. Tanger seems to be modular when it comes to the individual's participation.

Ownership: 2002 Viejero Inmovil (CD). Acquired in 2004.

2004; 10/22/12 (review)

Tanger (1999)

Tanger is an obscure group from Argentina with four albums (as I write this) that has been criminally neglected. The band is absolutely under the control of bassist and synthesist Luis Colucci, who has written every song (43 recorded to date) and is the only constant throughout their history. As such, the band hasn't evolved as much as would normally be expected from an interactive quartet. Though most certainly they've all steadily improved as musicians.

Tanger's debut is quite startling, and was quite a revelation for me in 1999. The sound is right from the Mexican school of neo psychedelic space rock as championed by Loch Ness, Humus, and Frolic Froth. A thick, wedgy, and very psychedelic guitar sound permeates. Muddy bass and thunderous drums takes you through the wilderness of the Andes, and images of Krautrock legends such as UFO era Guru Guru are not far away. The angular nature of the compositions call out another obvious influence: King Crimson at the time of Larks' Tongues in Aspic. But that only tells half the story: Tanger's ace-in-the-hole is the contrasting instrument amongst the fray - that of the flute. So in the end you get 12 individual tracks of an all-instrumental psychedelic version of the Beauty and the Beast. Beautiful and melodic flute lines are offset by evil and mean fuzz guitar licks. Ironically, band leader and songwriter Luis Colucci is the least intrusive of the band members, primarily staying in the background, content on keeping the proceedings grounded with his steady hand on the bass. And this is the formula Tanger takes forward to the future.

Ownership: 1999 private (CD). Booklet with recording details. Acquired in 1999.

1999; 10/21/12 (review); 8/19/26

10/21/12 (new entry)

Scherzoo - 02. 2012 France

Though released on the Soleil Zeuhl label, I think the users of RYM are right in labeling this band (on their debut) Avant Progressive first, and Zeuhl second. Scherzoo 02 dabbles in both styles, though I think the scales are tipped even further towards the dissonant avant prog methodology. It appears Present is a good blueprint here, with the addition of squonking sax - perhaps to its detriment. I'm really torn on Scherzoo. I want more of Thollot's Heldon-like Contact mixed with the Zeuhl styling of his latest outfit. Which isn't fair of course, since that's not what Scherzoo is about. But then again, as a consumer, who says I have to be fair? They're going in the wrong direction as far as I'm concerned and I may need convincing to go further with them. I think I just lost fanboy status.

CD: 2012 Soleil Zeuhl

Removed from the collection (2022)

10/2/12 (new entry); 3/7/18; 6/18/22

Deformica - Páramo. 2010 Argentina

Deformica, on their second album, takes one step forward and two steps back. Ironic in that the one step forward is the use of vintage equipment such as Fender Rhodes, Mini-Moog, and Hammond organ. The two steps back is the choice of musical direction. Gone are the psychedelic guitars of H and its place is a determined pointed move in the post-rock direction. Lots of Frippian sound-on-sound barely amplified guitar, and laid back melodic sequences. A cross between 90s King Crimson and Don Caballero. Overall it's a bit too restrained and static for me. The exception is the opening track 'Novelesco' which sees the group try their hand at instrumental psychedelic music with great success (and wonderful Moog sounds). The post-rock thing has been done over and over by countless bands. But not near as many modern bands have gone all out for a 1970 psychedelic sound. Too bad.

CD: 2010 Viajero Inmovil

9/21/12 (new entry); 9/4/18

Kotebel ~ Spain

Ouroboros (2009)

Ouroboros is the middle child between Omphalos and Concerto for Piano and Electric Ensemble. The eldest is the capricious, vivacious one who draws you to her mysterious ways. The latter is the class Valedictorian who also happened to be the class favorite. But Ouroboros is more serious. Studied longer and harder than its siblings, but perhaps doesn't mesh as well in social circles. In musical terms, gone are the female vocals and preponderance of flute, and in its place are more jagged rhythms, cold synthesizer sounds, and angular guitar solos. Of all the Kotebel albums, Ouroboros comes closest to the avant progressive sound of October Equus, or Belgium's Present by extension. A fine record that set the stage for an even better follow up.

Ownership: 2009 Musea (CD). Acquired in 2012.

9/20/12 (review); 7/18/18

 

Concerto for Piano and Electric Ensemble (2012)

Concerto for Piano and Electric Ensemble starts with the four part, 43 minute title track - and despite the name - this isn't an academic exercise in composition studies. Nope - it's pretty much a combination of good old fashioned early 1970s progressive rock and modern avant progressive. The abundance of acoustic piano points to the classic Italian scene like Banco del Mutuo Soccorso or Metamorfosi, whereas the constant counterpoint and modern production qualities recall anyone from Japan's Machine and the Synergetic Nuts to fellow countrymen October Equus. Concerning the latter, this is no doubt a similarly dense and complicated work, though not quite as impenetrable as October Equus can be at times. Oh, and let's not forget that Kotebel is here to rock, so this isn't some charted sheet music chamber styled tedious snoozefest. The omnipresent Fripp styled guitar leads will certainly keep you awake, if not the persistent rumbling bass and energetic percussion. The "electronic keyboards", as they are credited, certainly like to emulate the mellotron as often as possible. Three other tracks totaling 16 minutes plus a bonus from 2008 round out the disc in similar fashion. And it's Dad who plays those fancy thing-a-ma-jigs. And he's also the group's founder and main composer. And who's that playing the piano? None other than his 22 year old daughter. You know he is beaming with pride. And he should be.

Ownership: 2012 Musea (CD). Trifold digipak with recording details and photos. Comes with a DVD that I have yet to view. Acquired in 2012.

8/27/12 (review); 3/15/26

  

Omphalos (2006)

Omphalos is the album that catapulted Kotebel into a more formidable full band progressive rock operation. The addition of full-time soprano female vocals and flute greatly contributes to an entire new dimension of their sound. And while there's a bit of "progspotting" throughout the disc (in particular ELP, King Crimson, and Mahavishnu Orchestra - they all get a day in the sun), the overall package still comes across as entirely original. This is a dense work, that isn't afraid to rock out, and one that will require many listens to fully comprehend. The female vocals, piano, and flute definitely adds that Bacamarte meets Gotic esoteric reference that hardcore progressive rock fans tend to cherish. I'm guilty as charged.

Ownership: 2006 Musea (CD). Acquired in 2012.

8/25/12 (review)

Also own and need to review Cosmology.

8/25/12 (new entry)

Il Bacio della Medusa ~ Italy

Deus Lo Vult (2012)

Il Bacio della Medusa returns with their 3rd opus, an album that is likely to please fans of classic early 1970s Italian progressive rock – and perhaps only to them. Allow me a chance to further clarify: If band names such as Delirium, Cervello, and Odissea send a chill up your spine, then Deus Lo Vult will be considered a must purchase. Otherwise, you may want to do a bit more research and get back to us. 

There is some Italian progressive rock that is easy to digest on initial listening (PFM, Le Orme, Acqua Fragile) – and then there’s the deep-dive stuff – albums that require hours of listening to a preferred style and still love it despite the quirks. In other words, you have to be “all in” to appreciate an album such as this. Good, bad, or indifferent, I myself would have to be considered “all in”, so I think it’s a wonderful piece overall. But this is not the first album I’d pull from my collection for a co-worker looking to hear a few sounds from my collection. They’d look at me as if I’d just arrived from another universe (well, they do anyway, but let’s not go there).

Deus Lo Vult is a concept album about Pope Urbano II, the Papal overlord of none other than the First Crusade. If there was ever a topic that is likely to draw a gleeful smile from a shadowy progressive rock fan, well then this has got to take the cake! What the lyrics interpret of his life and ambition is for Italian speakers only, and I could care less really. I’m here for the music and the vocal representation. On this latter point, the male vocals here are of the 70s gruff variety similar to the aforementioned bands in sentence number #2. 

Of course there’s the fluttering flute provided by no less than a shapely and beautiful long haired lass. All the other requisite sounds and themes are in place: Majestic keyboards, hard rocking guitars, and a rhythm section that can’t stand to stay on the same meter for more than 20 seconds. A couple of somewhat disappointing observations: The title track, for the first five minutes at least, sounds more like Iron Maiden on their debut than Italian prog rock. And while I love Maiden as much as the next person, I do feel it’s a bit incongruous here. Though the final two minutes of said track show off their Italo-prog cred – add flute - and go all Osanna on us. 

And then finally we get to the length of the disc. Now I know lots of folks feel that “filling the disc” with 80 minutes of music is tiresome, and while I may not completely agree, I do understand the point. But Deus Lo Vult is only 34 minutes long. Certainly another 10 or 15 minutes could have been added to fill out a normal LP length? We’re in Dalton territory here, right? On the plus side, the CD comes in a wonderful hardbound book cover, with an interesting lyric libretto with photos. I’m really enjoying this musically and aesthetically. But surely, oh surely, there  had to be another 10 good minutes sitting on the cutting room floor?

---8/9/26

I think the album is a bit more metal oriented than I let on above. I'm sort of on the fence with this title. It finishes strong, which can often sway my opinion to an overly positive outcome. But there's some downtime earlier in the disc. Extra material would have helped here I think.

Ownership:  2012 private (CD). Hardbound book cover with a libretto including lyrics and photos. Acquired in 2012. 

9/18/12 (review); 8/9/26 (update)

Discesa Agl'inferi D'un Giovane Amante (2008)

Il Bacio della Medusa is back with their sophomore effort Discesa Agl'inferi D'un Giovane Amante. Just rolls off the tongue doesn't it? Well if there was any doubt where Il Bacio della Medusa's heart was after the debut, then those were put to rest for the opening here. With the addition of violin, Il Bacio della Medusa declares that they are indeed a progressive rock band, and they're here to stay. Simone Cecchini's vocals have definitely improved, and you can tell he's studied the early 70s masters intently (and even more so on their 3rd album). Love the Pholas Dactylus styled psychotic narration. His performance is definitely one of the highlights of the disc. Meanwhile Diego Petrini gives the old fashioned piano more air time, which is always welcome here at UMR. Not to mention plenty of old school organ. Eva Morelli's staccato flute is layered on the constantly changing rhythms, and guitarist Brozetti still has a bit too much pig squeal in his guitar, but he can lay off when appropriate. For those who miss the glory days of Osanna, you could do worse than pick this album up on your next order.

Ownership: 2008 Black Widow (CD). Acquired in 2008.

2008 (review)

9/28/09 (new entry) 

Il Bacio della Medusa (2004)

Il Bacio della Medusa may have entered the scene quietly, but that album cover certainly is striking. Like a cross between Nuova Idea's Clowns and Manilla Road's The Courts of Chaos, one might imagine this to be some wacky prog metal take on the classic Italian 70s scene. Fortunately it is not and is much more reverent to the Italian progressive rock masters than heavy metal. Still, this is definitely their heaviest album, and also their most modern sounding. It could pass for sophisticated hard rock as much as symphonic progressive. In that way, Il Bacio della Medusa started their career much in the same way as Deus Ex Machina. Hey, you gotta start somewhere. And in 2004, there was a lull in the retro progressive movement, and it seemed every band coming out of Italy were either prog metal nuts, or Dutch styled neo progressive bands singing in English, neither of which interested me much anymore. So here comes Il Bacio della Medusa with their flutes, psychotic Italian vocals, crazy dynamics, even an accordion, plus more ideas than they could control at that time. In retrospect, it's an excellent album, where perhaps the only fault was the aforementioned crunchy guitars, which belied their overall approach.

Ownership: 2004 Black Widow (CD). Acquired in 2009.

9/28/09 (review)

9/28/09 (new entry)

Arbatel ~ Mexico

Sumerios (2009)

Following the debut comes Sumerios, their unheralded follow-up. Released under the cover of darkness in Chile by the excellent Mylodon label, the album has thus far seemed to completely escape notice. And that’s a tragedy really. There’s even a bit of encouragement from no less a luminary than Gianni Leone (of Il Balletto di Bronzo fame) with his enthusiastic liner notes (translated to Spanish). Gone is the violin and in its place is the key addition of soprano female vocalist Rosario Maza Hernández, who adds a bit of exotic narration as well. The music is primarily keyboard based, and has now gone decidedly analog, with copious use of Hammond organ, Mini-Moog, and good old fashioned acoustic piano. Electric guitar, bass, and drums provide the usual backbone and the rhythm section reliably lays down odd time signatures to keep everyone guessing.

The album starts off with an Indian tribal / religious bit that unfortunately isn’t revisited. I suspect its purpose is to tie the theme to the ancient Sumerians, but I love the atmosphere it provides. Once the rock instrumentation kicks in, there is no doubt this is a 1970s influenced progressive rock album. Like Gamadion, the Italian progressive movement of the early 70s seems to be the main influence here (thus the Leone narrative I suspect). In the early to mid-1980s, Mexico possessed a burgeoning progressive rock scene with such stalwarts as Iconoclasta, Delirium, and Praxis all putting out very good albums. None seemed to cross the threshold to greatness. It seems to me that Arbatel has accomplished everything those bands had originally set out to do. And if you’re familiar with these acts, then the raw Mexican production qualities shouldn’t bother you on Sumerios. It adds to the charm. This is a deep, complex album that requires a few listens to penetrate. And it’s an album that needs more of an audience.

Ownership: 2009 Mylodon (CD). Booklet contains narrative in Spanish + music lineup. 

9/17/12 (review); 10/2/22

Gamadion (2004)

On Gamadion, Arbatel are an instrumental rock quartet with electric guitar and digital keyboards (including some cool pipe organ sounds) providing most of the input, with guests on vocals and violin rounding out the sound. Sure, it's not a crystal clear sound, and a muddied production (especially the drums) mars this slightly - though it's also part of the charm really. Apparently the band at one point covered a few classic Italian progressive rock songs by Le Orme and Il Balletto di Bronzo, so clearly their influences are a bit more interesting and researched than just the usual suspects from England. There's an excitement to listening to music such as this, as you're really not sure what's going to happen next, yet it's all within a comfortable progressive rock context.

Ownership: 2004 private (CD). Booklet has photos and recording details.

9/16/12 (review); 2/18/25

9/16/12 (new entry)

Placebo - s/t. 1974 Belgium

This is my personal favorite of the three Placebo albums. Here the grooves go deeper, and the solos are more intense. Best of all the compositions are, to a greater degree, more unique.

CD: 2011 P-Vine (Japan)

Placebo - 1973. Belgium

The 1973 album continues in the same vein as Ball of Eyes, though it's definitely more funky and head boppin' than the debut. And the real ear grabber is the superb Moog soloing by Marc Moulin. Strangely, the album finishes in a completely different direction. The next to last track is more towards straight jazz and the closer has more in common with Electronik Musik, than anything one would associate with Placebo. I thought the sophomore effort surpassed the debut, and from what I could tell, many considered it their best. However, my vote goes to the 3rd and last album. To be continued...

CD: 2011 P-Vine (Japan)

Placebo – Ball of Eyes. 1971 Belgium

Marc Moulin's three Placebo albums are the "Holy Grail" for the rare groove crowd, a sector of music fans who love that unique 70s style of cool. The beat and the mood of the sound are key.

For an album from the 1971 jazz scene, Ball of Eyes is remarkably focused, without any experimentation or free jazz moments which were still in vogue during that time. Not edgy like same era Miles Davis, Wolfgang Dauner or even other rare Euro groovers like the Sunbirds. In fact when I first heard it, I was certain it was from 1975 or later. The horn charts are all very well done and they do catch that certain 70s spy groove. It's all a bit too laid back for me to consider it a 5 star masterpiece, but its wide appeal is undeniable.

CD: 2011 P-Vine (Japan)

Original LPs are off the charts expensive, and I personally wasn't aware of Placebo until the last 6 years or so. After obtaining CD-R copies and pleading for a reissue on the CDRWL, we were all rewarded last year with fully authorized Japanese mini-LPs from P-Vine. Ball of Eyes in particular benefits from the format, given that the original features a cool gatefold cover.

Klotet - Det Har Aldrig Hänt Och Kommer Aldrig Hända Igen. 2010 Sweden

As if to prove Det Har Aldrig Hänt Och Kommer Aldrig Hända Igen will be different from its predecessor, Klotet open their second album with death metal styled blast beats on 'Gastronomika Proportione'. Despite this bit of incongruity - Klotet, as driven by female Hammond organist/keyboardist extraordinaire Milve Sofia Rydahl, insists their music maintain its defiant stance on Swedish folklore melodies. All of this music is then funneled through an old school 1970's progressive rock approach with fuzz guitar and organ leads, as best defined by Kebnekaise, Solar Plexus and Bo Hansson's solo works. None of Klotet's album's instrumental tracks clear the 4 minute mark, also calling out the glorious debut from that obscure Swedish band Lotus and their fine 1974 album. If any of this review makes sense, then you're more than likely a good candidate to hear this album.

Ownership: CD: 2010 Musea (France)

9/14/12 (new entry)

Svenska Lod AB! ~ Sweden

Horselmat (1971)

Svenska Löd AB!'s sole album is a very rare album, and originals are off the charts in price. But what of the music? Hörselmat is an instrumental jazz album with blues, rock, and funk undertones. An album that features none other than Janne Schaffer on electric guitar. Very much of its era. Despite its rarity, the album features an excellent production along with some splendid guitar, trumpet, sax, and organ work (especially the organ).

This is one of the rarest albums from Sweden, if not the rarest. Pressed in a micro quantity of 200 copies. Privately released album in an era when that kind of thing was unheard of, except in England perhaps.

Ownership: 2011 Creole Stream (CD). Acquired in 2012.

2009; 9/13/12 (review / new entry); 2/7/18

Ako Doma. 1999 Slovakia

Sometime in 1990, not long after the fall of the Berlin Wall, I managed to slip into Bratislava (though Visa's were still mandatory, who was paying attention?). At the behest of my gracious hostess, she insisted I catch a "local" instrumental band at a municipal concert venue (juke joint?). It was what can be best described as a "dance hall" - brightly lit, smoke filled, and slightly (OK, mostly) dingy inside. The audience was made up of primarily overweight middle aged women, all wearing knee hemmed black skirts and calf high pantyhose. On stage was a heavily mustachioed gentleman wailing on the sax, while a drummer and stand-up bass player briskly kept the pace. The melodies all had a certain popular music base, some Western, mostly Central European - and all based in another lifetime. They were immensely popular with the women as they gyrated wildly on the dance floor. The men drank tall steins of beer and puffed away on pipes and cigarettes, anticipating (perhaps dreading) what was in store for them that night. For this (then) 25 year old, it was an eye-opener. I was witnessing real-time something that I personally saw disappear quickly from the landscape once freedom was attained. For an American in 1990, it was anachronistic to say the least. And I loved every minute of it.

When I first heard the sax player from Ako Doma squonking her notes out, I was immediately brought back to this event. Her playing and melody choices are primarily based in Slovakian pop folklore. Pop, as in 1950's smoky dance jazz-pop. The remainder of Ako Doma apparently spent their wasted youth snubbing their noses at the Authorities and smuggled in King Crimson's Red album, perhaps hoping that if they did get caught, at least the album title would keep them out of hot water. And to say anything further would be redundant: You now know the music of Ako Doma's debut.

It should be noted that the final track, the 22+ minute 'Hrdzavenie', is from a different era of the band (sans sax), and is more rooted in typical progressive rock themes.

Ownership: CD: 1999 Mellow

9/10/12 (new entry)

Yellow Sunshine ~ USA ~ Philadelphia, Pennsylvania

Yellow Sunshine (1973)

Yellow Sunshine were a Philadelphia based group that recorded one of the best of the Afro psychedelic funk albums. A strong hard rock edge pervades, which is something that is often missing in these soul-oriented works.  This contains a mix of rockier vocal tunes and longer mellow instrumentals. Yellow Sunshine in the big leagues of the scene with Funkadelic and Mandrill. They later evolved into MFSB, a very fine mid 1970s funk/disco group, that recorded the fantastic 'K-Jee', my favorite song on the Saturday Night Fever soundtrack.  

Ownership: 2010 Philadelphia International Japan (CD). Papersleeve edition that replicates the embossed cover.

2008; 9/10/12 (acquired / review / new entry); 12/17/23

The Jack Hammond Group ~ USA ~ Chicago, Illinois

A Fatal Beauty (1982)

From Chicago comes The Jack Hammond Group, an inventive fusion band. On the double LP A Fatal Beauty, the album opens with a fantastic sequence of tracks, lead by guitarist Hammond, which is ultimately based in progressive rock, including a side long epic as found on Side 2 (of 4). Side 3 finds the group experimenting with many disparate styles (classical, blues, and funk primarily). Then they close strong on the final cut with the addition of horns. A solid album throughout, and a great find for US private press seekers. The cover is also quite suitably creepy.

Ownership: 1982 Fatal Beauty Records (2xLP). Acquired in 2012.

9/7/12 (review)

Open the Doors (1980)

Chicago based guitarist Jack Hammond debuted with Open the Doors, an eclectic album with an anachronistic 1960s blues/psychedelic feel on some tracks, which is highly unusual for 1980. As well he seems to have adopted, or been a disciple of, John Fahey's American Primitive style of country blues finger picking. Nice but inessential album, for my tastes anyway.

Former ownership: 1980 private (LP). Acquired in 2012.

8/28/10 (review); 9/13/12; 6/6/15; 1/3/23

Neither reissued as of 2/22/25.

8/28/10 (new entry)

Apoteosi ~ Italy

Apoteosi (1975)

Apoteosi is a family affair, three-fifth's of the group lead by the Ida family based in Calabria (the toe in Italy's boot). And the label was run by the father, who had signed up many local folk artists. What we have here is the Italian progressive rock version of the Free Design. And the keyboardist is no older than 14, running on another 1970s tradition of: Youth. Semiramis featured a 16 year old mastermind as did MIA of Argentina with their 15 year old whiz-kid. Hey, Mozart was 5 when he got started, so why not right?

Apoteosi is classic turn-on-a-dime Italian progressive rock in the Semiramis / Jumbo tradition with Jenny Sorrenti / Saint Just like vocals. Hard to dislike this one if a fan of the genre. Finishes with a space rock number straight from the Sensations' Fix playbook. Finding this private press must have been nirvana for collectors worldwide back in the day. 

---5/20/25

Really not much to add here. The album continues to impress and maintain its high rating.

Ownership: 1993 Mellow (CD)

1993 (acquired); 9/6/12 (review / new entry); 5/20/25