Fireballet - Night on Bald Mountain + Two, Too. 1975-76 USA-New Jersey

Night on Bald Mountain: Though from New Jersey, Fireballet sound like most of the progressive rock bands coming from Midwest America during the mid 70s (as I've painstakingly documented before). Yes is the major influence here, as it was for countless bands across the fruited plain. In this way, Fireballet were to the USA what Druid were to England. It's 1975, and it's time to release the followup to Relayer, because there will be one right? Right?? The long classical interpretation will of course recall ELP, another band that used to get props (though not so much in recent times). King Crimson gets plenty of cameo's as well throughout.  I'm a sucker for groups from my country going all-in progressive, even if not a single one of them ever made much headway in the Billboard charts (other than Kansas). But based on the number of copies still out there for sale in the wilds, it does appear they sold quite a many copy anyway. Maybe not one of America's best, but certainly a fine straight-down-the-middle progressive rock effort. Can't go wrong here for fans of the style. As for the bonus tracks on the Inner Knot CD, the opening one is 'Robot Salesman' from 1977, and has a fully orchestrated pop sound. Had this been their decided direction on the new album, it's highly likely not to be well received - especially now, but even back then I think. The other track is their 11+ minute live cover version (from 1974) of King Crimson's 'Pictures of a City' (pre-Night on Bald Mountain album). It's a muffled recording, so hardly essential, but a nice curio piece (perfect as a bonus track). The Arcangelo CD extra bonus track is called 'Say Anything', which I know nothing about and obviously haven't heard.

Two, Too: Perhaps predictable in retrospect, Fireballet scrubbed all the edges off their first album for an even more accessible second effort. Yet, it's really as progressive as the debut, minus the overt displays of grandeur. Tighter... more professional. As stated about Night on Bald Mountain, Fireballet have the sound of Midwest America down pat (despite their Jersey roots) - one that combines progressive rock with FM radio sensibilities. Interestingly enough, Fireballet's "commercial take on Yes" approach sounds like early Starcastle here - so once again we have parallel groups gathering similar data inputs, and spitting out a similar conclusion. For me, perhaps because I was a child within the generation, this type of music grows in stature with me as the years go by. The ridiculous original cover no doubt shaved one full star from this album for many folks right out of the gate. The band was smart enough to apply more appropriate art for the CD. Give this one a fresh pair of ears - you may be surprised. There's only one bonus track on the Inner Knot release 'In My Craft and Sullen Art / Mars' which is a (short) interpretation of the Holst classic. It's a live recording, from the same 1974 concert as the 'Pictures of a City' interpretation as found on the debut CD reissue. The Arcangelo CD adds 'Tears', a track I'm not familiar with.

Personal Collection
LP (Night on Bald Mountain): 1975 Passport

CD (Night on Bald Mountain): 2014 Inner Knot
CD (Two, Too): 2014 Inner Knot

Both albums are single covers and are common records in the US, often still found in the few used record stores that exist. With the smallest of searching you should be able to net one for under $10 - and less than $5 with a little more hustle. So one would presume LP reissues will never be needed. But on CD - now that has proven to be a challenge. Until finally this year, as announced on the CDRWL, we finally have legit CDs to buy and own, after years of watching pirate editions fly by. It's even more curious when you realize that band member Jim Cuomo is still heavily involved with the music industry. We first heard about the Japanese reissues, and while I haven't seen these, they each feature one extra bonus track not found on the US issues. The CDs are stored in a digipak, and each are adorned with embossed covers, which is a nice addition. As you can see, the second album has been redesigned (3rd scan), tastefully extracted and repurposed from the Night... cover. And who can blame them given the ridiculous original cover (second photo)? I'm sure it seemed funny at the time (to someone?), but it hasn't aged well. For purists, the Japanese CD, as is their protocol for mini-LPs, reissued the CD with the original cover. Each CD includes the lyrics and recording detail, but no history or other archival media, which is kind of a bummer. It would have been nice for them to spin their tale of woe (perhaps with some added humor) for us all. The sound is very good to my ears anyway. Good CD reissues, but perhaps they could have done a bit more. Don't want to complain though - it's way better than nothing - and certainly a step up from what you would get from Wounded Bird for example.

1992; 9/24/14 (new entry)

Klan ~ Poland

Mrowisko (1971)

Klan, like Czechoslovakia's Flamengo, were one of the pioneers of the exploratory progressive movement beginning to emerge in the Eastern Bloc, before the authorities declared this kind of music too subversive for a healthy State. I hear music like this with a bit of sadness, always wondering what could have been for those countries left to suffer behind the Iron Curtain while the rest of Europe was being "turned on". Klan's effort is a mix of psychedelic, radical progressive, horn rock, jazz, orchestral rock, and emotional vocal pop. Fuzz bass, crazy drumming, impassioned vocals, flute, and some killer swirling organ define this amazingly mature work for the time and place. An album that should be held up as a national treasure, recorded at a time of despair and little hope.

The CD adds the 1970 EP known simply as Klan. It's a fine early rock n' roll album with some nice acid guitar sounds, though it does not foreshadow the excellence of Mrowisko.

Ownership: 2008 Metal Mind (2xCD). Tri-fold digipak. Booklet with lyrics and a lengthy history, all in Polish. The second disc is their 1970 EP. Both would have fit on one CD. Also be sure to read the comments where UMR friend Bas offers up even more CD info regarding this landmark album.

1988 (LP reissue acquired); 1997; 9/20/14 (review); 9/29/25

Blackbirds - Touch of Music. 1971 Germany

Blackbirds' second album is a bit more UK and Dutch oriented than the usual 1971 German organ bang fest. Now nobody likes a German organ bang fest as much as moi (especially when the organ is a Hammond), but there's always room for a band like the Blackbirds' more classically oriented styled progressive rock. And it's quite the keyboard extravaganza too. References to Trace, Rare Bird, and The Nice are necessary. And the dour atmosphere of the vocals recall bands such as Procol Harum and Still Life. Touches of violin, flute, and recorder adds much needed color to the canvas. The CD version includes the rare 1970 single, where Blackbirds prove they were quite a force in the ways of psychedelic music as well with a searing acid guitar sound and gruff vocals. Very good album.

Personal collection
CD: 2005 Long Hair

Long Hair is the only label to step up on the reissue front, and they did a fine job on the CD, adding full liners, great sound, photos, and two bonus tracks from a rare 1970 single. I suspect the reissue LP to be similar (except it only features one bonus track).

Steve Linnegar's Snakeshed - Classic Epics. 1982 South Africa

What's most telling about Linnegar's album is just how out of sync the album was with its release date of 1982. The psychedelic guitar, optimistic vocals, folky acoustic guitar and violin overlays, and overall songwriting point to an album that could have been released in 1974 England. Classic Epics is a crafty mix of folk, psychedelic, progressive, and AOR. Best track is the lengthy 14 minute psychedelic space rocker 'Desert'. A wonderfully out of touch album, perhaps due to its remote location on the (then) shunned South African subcontinent. The new reissues on Guerssen really open this album up from prior bootleg copies, and even from the typically dirty South African originals. Be sure to hear this album as it was intended before passing quick judgment.

Personal collection
CD: 2014 Guerssen (Spain)

Originals come in a gatefold sleeve. Albums coming from South Africa are hard enough to find, but privately pressed ones are even that much more difficult. I was first sent a cassette of this album in the late 90s, and I've had it in the CDRWL since its inception. And as first reported on that site, via Linnegar's sister Diane, we learned of these Guerssen reissues. The album sounds great (from the master tapes) - much better than my old cassette which came from the crappy bootleg LP I'm sure. The album features a detailed review from Acid Archives contributor Aaron Milenski, as well as the full set of lyrics, newspaper clippings, and photos. The LP reissue, it appears, replicates the original in every way. Don't miss these reissues if there's any interest at all in this album.

Druckfarben ~ Canada ~ Toronto, Ontario

Second Sound (2014)

As if emboldened by their debut's comparisons to Dillinger, Druckfarben has gone even further to prove the point (was I the only one to do this? I wonder...). They have actually improved on their already impressive debut. Ed Bernard is the master of the stringed instrument, schooling us all on guitar, violin, viola, mandolin, banjo, dobro, and - "pint glass and incidentals" (lol). Vocalist Phil Naro sings like men used to in the 1970s and early 80s - with hairy chest and big balls. The idea was to pick up hot girls, something that I guess is now (sadly) sooooo passe. William Hare provides us our analog keyboard fix. Kansas (the good stuff - do I really need to qualify this comparison?) remains the altar at which Druckfarben worships at. And I'll be damned, if I don't hear some Rush creeping in here as well. Hey, they're Canadian, they can't help it. And, I for one, welcome the influence. If Druckfarben existed in 1976, they'd be topping the Billboard charts. As it stands, they are heroes to those who remember the best part of growing up in 1970s North America. Thanks for that, Druckfarben. Here's to hoping you go backwards in time from here.

Ownership: 2014 private (CD). Acquired in 2014.

9/16/14 (review)

Druckfarben (2011)

In the 1970s, there existed a band from Toronto called Dillinger, who seamlessly mixed progressive rock and commercial styled tunes to perfection. Druckfarben are the spiritual successor to the two Dillinger albums. It is the definition of the USA Midwest / Ontario Progressive Rock (1970's/early 80s) sound that I've painstakingly documented. Given that this is a 2011 release, the commercial aspects are less "FM ready", but rather geared to the discerning listener of finely crafted pop music. Musically, with its very strong Hammond organ and violin presence, Druckfarben are clearly aiming for the Point of Know Return. And having hindsight at their disposal, they only leave the good stuff in, while weeding out the cringe worthy material. Excellent new band with many ideas. Let's see where they go next.

Ownership: 2011 private (CD). Digipak. Acquired in 2013.

5/2/13 (review); 6/16/26

This was to be the end of the band. Vocalist Phil Naro sadly passed away in 2021. It doesn't appear the band has any plans to reunite.

5/2/13 (new entry)

Opus III ~ Sweden

Opus III & Friends (1970)

What strikes me most about Opus III & Friends is how much it reminds me of an American album circa 1970 as found on labels like Paramount, Rare Earth, and ABC. It actually sounds like a horn rock album - without the horns if that makes sense. But the compositions have that similar flavor about them. It's clearly a post psychedelic release and many elements of that genre are present, most fortuitously on a couple of the guitar solos spread throughout the eight tracks here. The instrumental songs go for a quiet introspective electric guitar trio sound. Which is a logical conclusion when you realize the band is headed up by no less a luminary than the legendary guitarist Jan Schaffer. And the Friends part of the moniker includes none other than Bjorn J-Son Lindh on piano and flute. This is definitely not the subversive underground Sweden of Parsson Sound, International Harvester, Algarnas Tradgard, and Flasket Brinner. Not much is unfortunately. A good album though, and well worth picking up if you see it.

Ownership: 2013 Sonet / Universal (LP). Numbered (#743). RSD. Acquired in 2014.

No CD reissue as of 2/25/26.

12/21/10 (review); 9/16/14 (update / new entry); 2/25/26

Dakila. 1972 USA-California / Philippines

Despite looking like the bad guys from a vintage Hawaii Five-O episode, Dakila were a band from the Filipino immigrant community residing in the Mission District of San Francisco (a generation later, another Filipino group would emerge from the SF Bay Area, and that would be the excellent thrash metal band Death Angel). But this was 1972, and given the Latino influenced culture of the area, Dakila put no less a luminary than Santana on a pedestal and made a similar go for their fortune. The music contains copious amounts of passionate sustain guitar, chunky Hammond organ, fuzz bass, active Latin percussion, and soulful vocals. The latter sung in Tagalog, Spanish, and English. Dakila definitely have that Lowrider Soul culture in their veins as well, and Carlos' brother's band Malo is also very much in play here. Personally, I cannot possibly hear enough bands in this style, and many are favorites, especially Chango. Other reference points would be Macondo, Pantha, The Antiques, Naked Lunch, Azteca, and Broth. Absolutely killer stuff.

Ownership: LP: 1972 Epic. Single sleeve. Purchased this at Half Price Books in Dallas long ago (1992). It was a spec buy, but it certainly had the right look! Discogs only has this one photo. I should upload my copy.

CD: 2022 Guerssen (Spain). Fresh off the press. Comes with full liner notes (an interview from It's Psychedelic Baby). Apparently the tapes were sped up for the LP. I didn't do a side by side but I did notice a slight difference in sound. These days it's nigh impossible for me to buy a CD if I already have the LP, but I had to make an exception here. Music like this was made for driving!

1992; 9/4/14 (new entry); 1/16/23

Fusion Orchestra - Skeleton in Armour. 1973 England

Fusion Orchestra aren't a jazz, nor chamber, rock band. Rather they represent, to me at least, the swan song for the Post Psychedelic, Proto Progressive with Female Vocals sound, as I've documented via the link provided. Fusion Orchestra are a spirited bunch, and the music borders hard rock, with blazing heavy psych guitar at every turn (with some great solos). There's also a jazz undercurrent, and Jill Saward's voice (and she plays a mean flute too) is husky in that blues sort of way that was popular at the turn of the decade. This is one of the most kinetic albums of the genre, with multiple fast paced meter shifts and a wealth of ideas, and no fan of any of the genres mentioned above will walk away disappointed here. Jill Saward was just a cute teenager when she joined the band in the early 70s. Later she went onto be the professional blond bombshell leading the slick, and very popular, 80s jazz funk band Shakatak.

Personal collection
LP: 1973 EMI
CD: 2009 EMI (Japan)

UK originals come in a wonderful textured gatefold (first photo). As with a few of my albums, I actually found a new original LP copy at a local record store here in Dallas in the mid 1980s. I almost didn't buy it because of the unrepresentative name of the band. But as fortune would have it, I gave up a dinner that night, and now still proudly own that copy. As for reissues, they have been the sole proprietorship of the Asian market. Not sure why this album hasn't been treated to a UK specialist label like Esoteric with full liner notes, but these Asian reissues will suffice until then. The Japanese mini-LP I own is a perfect reproduction of the original in miniature.

Hominido - Estirpe Litica. 2014 Chile

Hominido was formed from the ashes of Le Desooorden, the fine Chilean group that we've featured in the past. Hominido features the rhythm section of the prior group, along with a new guitarist, and guests on violin and trumpet (also former Le Desooorden alumni). Most importantly they've recruited a female vocalist, thus giving the band its most distinctive quality from their previous endeavor. And I appreciate that she sings in her native Spanish. Hominido follows a similar path of crafting music that is highly creative, with a strong penchant for mixing of genres - but with a modern progressive sound, most notable in the extensive use of metal guitar. Perhaps most impressive is Hominido's dedication to diversity. On "Estirpe Litica" one will encounter the sounds of India ('Shalagram Shila'); Arabia ('Simun'); instrumental jazz/metal fusion ('Eterno Retorno'); ambient tropical ('Mi  Roca Interna'); progressive rock (title track); and atmospheric lounge ('Salar'). I was less impressed by the more straight-up prog metal like 'Cabeza de Piedra', 'Insano Devenir', and 'Adoquines Queretanos'. I had secretly hoped that 'Magma' would be Zeuhl influenced, but no such luck, though it's a fine neo psychedelic track in its own right, so yet one more style emerges.

For those who enjoy high minded concept albums, Hominido states that "Estirpe Litica" is a: "Conceptual album shows, through music, the ancestral relationship of humans with stones, narrating the changes that this causes them to be used in countless everyday situations related to the construction of homes, temples, worship elements tools, defense of rivers, major roads pavement ancient, aqueducts, etc." 

Overall Hominido has carried on the Le Desooorden legacy quite well. Those looking for adventurous progressive rock music and who tend to favor genre cutting, will find much to enjoy here. Recommended.

Ownership: CD: 2014 private

9/3/14 (new entry)

Fusion Orchestra 2 - Casting Shadows. 2013 England

Well, well, look who's back? I would not have thought of Fusion Orchestra that's for sure. Original guitarist Colin Dawson reformed the band, with 4 new players involved including the all important ingredient of a female vocalist - this time performed by the lovely Elsie Lovelock. Despite the new membership, the band sounds very much like an updated Skeleton in Armour, which is all one could - perhaps should, given the moniker - hope for. Lovelock's vocals retain that husky soulful jazzy tone that Jill Saward brought forth in the early 70s. And it's nice to see Dawson continue to carry a psychedelic sound in his energetic guitar playing. On the keyboard front, Ben Bell, it appears, has decidedly gone with modern gear - much of it representing the sounds of the past, so he has successfully accomplished what he set out to do. The compositions could have easily been composed in 1974 for a followup album, and I'm not sure I could pay a higher compliment than that. 'Cider Sue' is my favorite of the three main 10+ minute tracks presented. Certainly the material has a modern edge to it, and it would be unrealistic to expect different, but it seems a natural progression for the band, and does not come across as forced or contrived. Had this been a new band from 2013, that no one had heard of prior, I think it would be well received by fans of modern progressive rock. It's a tragedy this one escaped notice. Don't miss this one.

Ownership: CD: 2013 Patchwork Studios

9/2/14 (new entry)

The Morrigan - Hidden Agenda. 2002 England

And The Morrigan's recording career appears to have concluded with Hidden Agenda. Featuring a capture-the-imagination medieval city center painting, and with a title hinting at a possible byzantine hidden agenda, perhaps we can expect this to be The Morrigan's most progressive and thought provoking album to date? The answer is no, it's more of the same: A solid mix of progressive rock originals and unique rocked out interpretations of English and Celtic folk traditional music. Which is hardly a bad thing. I've always appreciated The Morrigan more for their handwritten material, and tracks like 'In the End', 'The Other', and the 10 minute 'A Night to Remember' do not disappoint. In fact the latter track is arguably The Morrigan's finest moment. If this is indeed their swan song then they went out on a good note. 

Former ownership: CD: 2002 English Garden. Jewel case. Lyric and artistic booklet with photos and recording details.

5/5/13 (first listen); 8/26/14 (review / new entry); 12/3/24

The Morrigan - Masque. 1998 England

Masque continues in the same manner as The Morrigan's two previous releases. There is the usual blend of original material mixed with creative progressive rock arrangements of traditional medleys. Whereas Wreckers sounds like an extension of Rides Out, Masque sees The Morrigan stretching out to new horizons - with more sophisticated arrangements and an overall heavier sound. Like Wreckers, The Morrigan held back their more adventurous material until later in the disc. Highlights include the heavy and complex progressive rock track 'Moonghost', the Cathy Alexander dominated 'The Traveller' with its Hackett-esque guitar, the jazzy variation of the traditional 'Dribbles of Brandy', and the Ozric Tentacles (with vocals) inspired 'The Demon Lover'. A very fine album.

Ownership: CD: 1998 English Garden

8/26/14 (new entry)

The Morrigan - Wreckers. 1996 England

Six years after everyone ignored Rides Out comes Wreckers which basically sounds like a re-recording of Rides Out - though the tunes are indeed different. There hasn't been much progression since, and it appears they are trying to re-energize or regain their old audience - or perhaps attain a new one with their first CD on the established English Garden label (which incidentally was an offshoot of the Background reissue label that was focused on some of the most obscure 1970s UK folk rock rarities). I also hear a timid try in a few places for a Dead Can Dance styled Darkwave sound, though they were a day late and a dollar short on that front. There are two odd tracks towards the end of the CD (both originals) that show that The Morrigan are looking to break out from their standard sound. 'Wheels Turning' is a good try at the 80's New Wave of British Progressive Rock sound as popularized by Marillion and Pallas. And 'When the Rain Comes Down' has a reggae base complete with Moog synthesizers, once again demonstrating their Festival Scene roots. So given this premise, I'd have to say Wreckers is the most superfluous album in their canon. Certainly it's a fine work, and if you haven't already heard Rides Out then the sound will be most revelatory on initial impact I'm sure.

Former ownership: CD: 1996 English Garden. Jewel case

8/26/14 (review / new entry); 4/4/24

The Morrigan - Rides Out. 1990 England

On paper at least, England's The Morrigan doesn't sound like my cup of tea. In essence, The Morrigan play rocked out versions of English traditional folk songs. Or self-penned tracks that sound like English traditional folk songs. Fortunately I happened upon Rides Out not long after the CD release, and was captivated immediately. Not only are these spirited reproductions - or originals - but there is definitely a psychedelic/heavy rock slant to their approach (and guitar sound), reminding me of some of the early 70s greats like Mellow Candle or The Trees. The female vocals and recorders - heck the entire production - are crystal clear and one can be forgiven for breaking into a jig mid-song. It's apparent the band had roots in the UK Festival scene of the mid 80s, though by 1990 the band had honed their sound to a professional level. Not surprisingly I found myself enjoying the original material best, but if in a positive mood, the whole album works well together. A wonderful find, especially if you tire of the endless Public Broadcasting Company's tepid vision of said sound.

Ownership: CD: 1997 English Garden. Part of a large collection buy not long after this release. Jewel case with 2 page booklet containing detailed recording info plus a photo on the back. Originally released on LP in 1990. The CD features one relevant bonus track recorded at the same time as the album.

8/26/14 (new entry); 2/1/21

Steve Maxwell von Braund - Monster Planet. 1975 Australia

Monster Planet is arguably Australia's first electronic album. Influenced by the German Cosmic Courier LPs (all of which were imported to Australia), and Braund's own time spent in the English and German underground, Monster Planet mixes both rock (including vocals, sax, bass, and drums) and electronik elements. The latter proving to be the main characteristic of the album. The synthesizer was limited to strictly a Korg-700, so the possibilities were quite limited - and the album is a bit monotonous in places because of it. There are no sequencers, organ, or mellotron - just static and spacey electronics. Shortly thereafter Braund began to assemble a full arsenal of synthesizers, and thus the Cybotron legacy was born. All the same, the album has its charms, and is a good example of the pioneering 70s electronic music movement.

Ownership: LP: 1975 Clear Light of Jupiter. Single sleeve. Online acquisition (1999). The album was pressed in a quantity of about 2000. Braund wasn't too keen on the cover design (nor the Von designation), and so he had approximately 500 of the albums reprinted with a more favorable cover (black and white with him on the front). So convincing was the German styled cover design, that when I first read about the album from a catalog in the mid 1980s, it was simply listed as Monster Planet on the Cosmic Couriers label. For many years, dealers told me such an album didn't exist. And finally the puzzle was resolved for me, and eventually I bought the original LP. At one point I also owned both the Aztec and Dual Planet reissues, but moved them out since they were superfluous. The CD does however feature a very telling 14 minute radio interview from back then. I have to admit to wondering why Aztec would reissue such an obscure album, especially after falling into financial trouble. And the answer is provided in the extremely informative liner notes: Label head Gil Matthews plays bass and drums on the album!

1999; 8/23/14 (new entry); 7/8/23

Irish Coffee. 1971 Belgium

Irish Coffee's debut is practically the definition of the Continental European rock sound of the era. Heavy guitar and Hammond organ are the main instruments, while the English vocals are delivered in a forceful gruff style. The music is deceptively complex, and a casual listen will likely result in labeling the album as "hard rock" and it definitely rides that fence. Tracks like 'Can't Take It', 'When Winter Comes', and 'Hear Me' pack a lot of ideas and meter shifts into their sub 5 minute time frames. The single tracks are indeed more straightforward, and the last recordings come from 1974 where it appears the band hadn't progressed at all.

Ownership: CD: 2007 Thors Hammer / Garden of Delights. Full historical liner notes, new photos, scans of all their singles (and all 7 extra singles are here as bonus tracks), and great sound. 

My first taste of the album, along with dozens of other people I'm sure, came via the Voodoo CD reissue (1992) which I picked up sometime in the 90s. Over the years, this reissue had been tagged a pirate edition, but I was pretty certain it was legit. And sure enough, the band themselves reissued it in a limited edition (Voodoo was an early name for the band). It featured 7 bonus tracks and a small history. Naturally it vanished into various collections over the years, and the bootleggers hit the market hard. 

Fortunately Garden of Delights came to the rescue (under their non-German Thors Hammer moniker), and this is the de facto reissue. Here we learn of the authenticity of the original CD (but points out one glaring recording error), as well as confirming the original LP release date as July 1971 (I still see 1972 appended on some discographies). It would be great to get an original, but that's not likely to ever happen. While I think it's a great album, I don't think it's worth four figures honestly (and yea, I do think some albums are worth that - personally speaking of course).

8/20/14 (review / new entry) 

Light Year - Reveal the Fantastic. 1974 USA (archival)

Today we have a real gem. And it's been out there for 4 years now, and I'm just hearing it for the first time!(?) I discovered it the old fashioned way: Research. This is the type of album I'm usually tipped to ahead of time by my loyal friends and researchers. So perhaps today I can return the favor? I hope so. I think all of my readers will adore this one.

An extraordinary find, Light Year were a band from San Francisco circa 1974 that played a cross between heavy fusion and progressive rock, with dominant female vocals. To me it sounds like the Belgian band Cos playing the music of Mahavishnu Orchestra! Yes... I'm serious - Pascale Son fronting John McLaughlin and crew. A 6 piece of guitar, keyboards, bass, drums, vocals, and percussion (much of it tuned). Mixing a Bay Area band with an additional percussionist will call to mind who? Yes, that's right, Santana. And guitarist Randy Sellgren certainly possesses that hyper kinetic electric technique of Mahavishnu John meets Carlos type sound. The music is jazz oriented, but with ferocious rock segments, in the same manner as Santana's "Lotus". And the final track, clocking in at a whopping 20:20, has a distinct space rock element - propelling the album to its greatest height.

And the story doesn't end there. And this is perhaps the most fascinating aspect for me; the liner notes don't mention it. And there's only one reference to it on the label's home page. And (lots of ands on this one...) this is how I discovered it in the first place: I recently bought a second LP copy of Mingo Lewis' "Flight Never Ending" which I have listed in the CDRWL. This copy, however, included a promotional insert, where it says (typing it out literally): "Mingo's band lingo (sic) is a tight, young outfit: Drummer Dave Logemen (22), bassist Eric McCann (17), plus the remains of another San Francisco band called Light Year which includes guitarist Randy Sellgren, synthesizer specialist Michael Kapitan, and keyboardist Kincaid Miller." The latter two are not mentioned in the CD liner notes (Mingo's album came out two years later) - but then again, neither is Mingo Lewis. Holy smokes - who knew??

This album is absolutely essential.

Personal collection
CD: 2010 Green Tree (Germany)

The CD comes in a nice digipak and features newly written liner notes (from 3 of the members), lyrics, and photos. The sound is excellent. The LP is a gatefold, though I haven't possessed one myself. I know that Green Tree has a somewhat checkered past, but this one is clearly legit, and a superb archival album. Buy this one before it gets away. Special thanks is given to Doug Larson, who I presume had something to do with this release.

L'Orchestre Sympathique - En Concert a la Grande Passe. 1979 Canada-Quebec

L'Orchestre Sympathique's jazz rock sound (recorded live, but perfect sound) is defined by flute and tuned percussion, and thus draws comparisons to Pierre Moerlen's Gong and fellow Quebecois legends Maneige very easily. And those references are certainly on the mark. One band that isn't mentioned often, but I pick up in the more intense spots, is that of Dun's Eros. There's no hints of Zeuhl here, and it certainly isn't a dead-on reference, but there are a few similarities especially on 'Houmalaya'. As with any live jazz oriented album, there are a couple of loose improvisation spots that get stuck in the mud, but in general those moments are fortunately held at bay. About 15 years after this album, the Argentine band Las Orejas y La Lengua would release a similar type effort. Highly recommended.

Personal collection
CD: 2005 ProgQuebec

Original LP is a single sleeve cover. The album was included in their concert pricing  - a novel idea that helped fund the project. It's only been in the last couple of years that I was first introduced to the album. The CD features liner notes and wonderful sound like all of ProgQuebec's product.

Madder Lake ~ Australia

Stillpoint (1973)

Madder Lake's debut is a varied work, that references many of the influences of its day. Anything from the Oz standard of boogie / shuffle ('On My Way to Heaven') to catchy folk rock pop ('Goodbye Lollipop') onto Santana influenced jazz rock - it all can heard on Stillpoint. Perhaps the best track is the opening 8 1/2  minute 'Salmon Song' (wait a minute, was Steve Hillage...? Naw...), a primarily instrumental jazz rock piece that features some fantastic guitar and organ leads. Other highlights include 'Helper', which sounds like it could have fit in the middle of Blue Oyster Cult's Tyranny and Mutation album; the first half of 'Listen to the Morning Sunshine' is typical boogie, but the second half is all psychedelic goodness; and the two progressive oriented closers 'Song for Little Ernest' and '12-lb Toothbrush'. Ironically the latter track had a pop vocal motif that they filtered out for a hit single (as presented on the Aztec CD as a bonus track) - and became somewhat of a caricature sound for the band. They apparently never recovered their reputation locally because of it ("a millstone around their neck" as the liner notes put it). From my perspective, this is by far their better of two albums, and I could never reconcile with their sophomore effort Butterfly Farm despite an equally splendid cover.

Of historical interest, this was the first album on the Mushroom label, and was more or less created by the manager of Madder Lake. And of personal historical interest, this was the first LP I ever bought on ebay. Such an odd choice, but it remains the fact. 

---9/10/26

I didn't cover the bonus tracks, but there are three singles (one side of a 45 came from the LP) and four live cuts. These are similar in construct to the album proper. 'Bumper Bar', 'Down The River', 'When is a Mouse', and 'Country Blues' are all not on Stillpoint. Perhaps only the latter a disappointment.

Ownership: 

1973 Mushroom (LP). Rough paper gatefold. Acquired in 1999.

2008 Aztec (CD). Tri-fold digipak. Eight bonus tracks and a full history. Acquired in 2012.

4/9/99; 6/5/12; 8/6/14 (review); 9/10/26

Previously owned: Butterfly Farm

8/6/14 (new entry)

The Plastic Cloud - s/t. 1968 Canada

Kingston's The Plastic Cloud - to my ears anyway - practically define what late 1960s underground psychedelic music sounds like. Look at the cover - fast forward 45+ years - and tell me they wouldn't fit perfectly into today's hipster culture. They have a strong sense of that era's light ethereal melodies coupled with credible vocal harmonies, and yet they also possess this subversive streak that shows up primarily in their heavy use of a biting "bumblebee" sounding fuzz guitar. Tracks like 'Shadows of Your Mind', 'You Don't Care', 'Face Behind The Sun', and 'Civilization Machine' are massive in their execution, and the jams can get super intense  - especially on the longer tracks (two of which go into the 9 to 10 minute mark). Imagine The Doors going "all in", as they would in their early days, but utilizing fuzz guitar instead of electric organ. And even the "straight" psychedelic tracks are memorable such as 'Art's a Happy Man' and 'Bridge Under the Sky'. If you're a fan of the underground 60s psych movement, it's pretty hard to imagine not freaking over this masterpiece. A genre defining album if there ever was one.

Personal collection
CD: 1990 Laser's Edge (USA)
LP: 1999 Void (USA)

The original is a single sleeve cover with insert. Original copies can get way up there, and frequently sell for well over $1K. My original discovery came via a new upstart label called The Laser's Edge way back in 1990. I'd never heard of the group, and I was myself only in about Year 3 of having disposable income for buying albums when I felt like it. So I took a chance, and was rewarded in a big way from a music perspective. The CD comes with a fold out insert and replicates the original liner notes. Many years later I picked up the Void LP reissue - and it's probably superfluous to own this version given it's a straight reissue with the same original insert. But since it's such a favorite album of mine, it's nice to have a vinyl copy - especially since originals are pretty much out of reach. The Lion reissues include - according to their website - "The accompanying twenty-page booklet has all the lyrics, thanks to Don Brewer, the man who wrote them, as well as rare photos and a replica of an original press release that must be seen to be believed". And their edition of the LP is a gatefold.