Spontaneous Combustion - Triad. 1972 England

I had the below review previously combined with the debut on one UMR entry. I'm now separating those apart since I just got in the LP for Triad. I didn't relisten to it, so these notes remain nine years old. A recent relisten (2024) confirms these findings.

Triad, released later in the same year of 1972, picks up where Spontaneous Combustion leaves off, and is more in line with that era's music. There is still some psychedelia left in the recipe, but Triad is geared more towards hard rock, as well as showcasing their progressive compositional acumen. It would seem that Spontaneous Combustion's Achilles' heel was their inability to focus on what they did best, and their albums can be confusing to listeners. Perhaps that's what they hoped to achieve, but history tells us they failed to gain an audience - and only were later discovered by curious collectors of early 70s UK underground rock. Many consider Triad the better of the two albums, and I'm inclined to agree, though they grade out roughly the same regardless. Three years later, the band reformed into the group Time, and it was there the group showed their true colors of being an all-out progressive rock outfit. Though it too never caught an audience.

Ownership: LP: 1972 Harvest (USA). Single large holed sleeve where you can mix and match the front and back covers in a variety of ways. Recent acquisition (2023) from a friend in Los Angeles.

CD: 2012 Esoteric. Jewel case. Booklet with a full history. Adds three bonus tracks taken from 45s.

11/24/14 (first listen / review / new entry); 2/12/24

Spontaneous Combustion. 1972 England

Spontaneous Combustion's debut sounds more like an album from 1969/70, and still has clear psychedelic overtones, especially considering the hazy vocal approach, and melodic disposition. The album is a mixture of styles that includes hard rock, pop, progressive, folk, and ballads. The last two long form tracks demonstrates that Spontaneous Combustion are an experimental bunch at heart, and the album becomes more unpredictable, progressive, and interesting. It's clear this guitar trio are very talented, and could really pack many ideas into a small window when they wanted to. A fine debut. 

Ownership: LP: 1972 Capitol (USA). Single sleeve. Recent acquisition from JL (2023) before the Austin Record show. I prefer the UK cartoon original, but this is fine too. 

This LP replaces the Esoteric CD (2012) that made up the review above. 

11/24/14 (new entry); 7/8/23

Pocket Size - Exposed Undercurrents. 2014 Sweden

Contemporary 2014 Sweden is loaded - and I mean loaded - with rock bands emulating the sounds of the early 1970s. Most are of the US/UK hard rock variety, or they go for that "turn the amps to 11" stoner pseudo-metal sound. There are fewer bands that are making a try for the true progressive rock era sound of the early 70s era. I don't mean the all-in-proggy-prog Anglagard type either, but rather the more common sound of the day coming from Sweden like November, Saga, Flasket Brinner, and Trettioariga Kriget. There's a real psychedelic element to Pocket Size's sound as well, and that can only be considered a plus to the UTR's world.

The band themselves seem to possess a confused identity. In effect, the group is the vision of guitarist Peter Pedersen. Depending on which site you are reading (including their own), you're likely to see the band listed as Pocket Size, Pocket Size Sthlm, or Pocket Size Stockholm. No matter, as what's most important is that Pedersen brings in no less than 9 participants for his creative work. So this isn't a solo work with a monolithic viewpoint - or worse - a sterile digital sound. Not even close. What you get here is exactly what you would expect from a studio effort circa 1972, complete with all the requisite analog instruments and a certain je ne sais quoi attitude. Hammond organ, saxophone, electric guitar with a multitude of effects, spacey vocals (much of it in glorious Swedish), theremin, vibraphone, and flute give one an idea of what to expect. Put that together with a planned structure and a few melodies, a handful of complicated breaks, and some solo sections. This was the way music was presented years ago, when the last thought on Earth was obtaining a radio hit or falling in line with whatever scene a band was perceived to be associated with. A knowledge of jazz, classical, blues, and early rock and roll was all that was needed - and a strange desire to actually progress from there. Give me more of this.

Ownership: LP: 2014 Mill Hill. Single sleeve. Acquired directly from Peter Pedersen (2019).

CD: 2014 MillHill. Slip case that I include with the LP.

11/21/14 (new entry)

Zakarrias - s/t. 1971 England

After many years of mystery, turns out Zakarrias is an alias for an obscure Austrian singer slumming in London named Bobby Haumer, and most of the material came from a former power trio known as Salt. That band featured Hawkwind's Huw Lloyd-Langton on guitar and future Steamhammer member John Lingwood on drums. After Salt fell apart, Haumer was surprisingly offered a deal with Deram, where he re-purposed the material with a makeshift band including winds player Geoff Leigh (later of Henry Cow) and Peter Robinson (Quatermass) on keyboards. There's way more to the story of course, as told in great detail with the Cherry Red CD, but in effect that's the backdrop. The album wasn't promoted, and as such it barely sold any copies, hence its incredible rarity today. The music is certainly an odd mix of folk, blues, hard rock, and progressive. Haumer's vocals really do possess a Robert Plant tone, and thus the Led Zeppelin references are credible (think LZ III). And knowing these tracks were initially written with a hard rock band in mind, the compositions do make more sense. But given all the acoustic guitars, piano, and flute, the material seems just a bit off from the presentation. And that's the charm I guess. An album I definitely enjoy and recommend, but certainly lower-tier stuff when talking 1971 progressive rock from the UK underground.

Personal collection
CD: 2010 Cherry Red

This is one of the real biggies, and originals are truly scarce, with demand extremely high. Originals usually sell for well over $1K and have sold for as much as $3,500 (within the last year). Why anyone would pay that much for a good, not great, album with a single sleeve cover that looks like Howard Stern is anyone's guess. I'm kidding of course. Certainly I understand the collecting mentality, and for those who want every UK Deram release, this album will prove to be an obstacle. I didn't hear Zakarrias myself until about a decade ago, and only via a CD-R someone sent me, as even the first Japanese CD was extinct by that time. The Cherry Red CD is the definitive version to own. From the master tapes, with a much needed history to tell (see notes below). Cherry Red is the parent of Esoteric, and the material is similar to what Esoteric would normally reissue, so not sure why it wasn't to be honest.

Happy Family - Minimal Gods. 2014 Japan

It would be 17 years until we finally heard from Happy Family again. Their third album Minimal Gods sees Happy Family moving in new directions while maintaining their brand identity as it were. If you came to this album looking for a somewhat similar sound to their first two albums then... I have good news, you will not be disappointed. But as indicated, Happy Family have begun to tread new waters.  Most notably, an obvious modern math rock component has entered into their overall sound. Normally that's a term that is anathema to me, but in the capable hands of Happy Family, they are able to transcend the genre norms of clinical and cold precision, for something more alive and a sound that bursts from the speakers. Some would argue they always had a math rock type sound, and that may be true to some extent, though I personally heard more Present and even Canterbury if considering Happy Family's first album. What's most interesting to me is that Minimal Gods doesn't sound anything like the first two albums, and yet the music is entirely - and non mistakenly - Happy Family. There's a certain genius in being able to do that without alienating your fan base. Let's hope we don't have to await another generation to hear a 4th album.

Ownership: CD: 2014 Cuneiform (USA)

11/18/14 (new entry)

Happy Family. 1995 Japan

Perhaps no band arrived with such an in-your-face sound as Happy Family did in 1995. Their fabled live shows were popular amongst the tape trading crowd of the early 1990s. So there was quite a bit of buzz on what their first CD would sound like. The band insisted their albums come out on the preeminent Avant Prog label Cuneiform, and were willing to wait until that label had room on their release schedule. By 1995, anticipation was high, and Happy Family not only delivered, but exceeded, most everyone's expectation.

Consider the first track 'Rock & Young'. Hard to imagine anyone delivering such a strong overpowering opening punch as Happy Family did here. If this track doesn't move your heart rate up a few beats, you're probably dead already, and no one told you (did Aunt Sally forget your birthday for the first time? well, there you go.). And it gets more intense from there. With fuzz bass, fiery sustain electric guitar, staccato piano, buzzing synthesizers, spastic rhythms, and an incredible imagination, Happy Family has to be in the discussion as one of the best albums of the 1990s. The label's comparison of a mix between Magma, King Crimson, Weidorje, Area, and Univers Zero are just flat out spot on. Happy Family took what Belgium's Present were doing in the 1980s, and accelerated it by 100 mph. Strap your seat belt on - hit play - and roar through 50 minutes of incredible intensity and complexity. Get rid of your treadmill, you'll burn 1000 calories just listening to this album. Need.... Gatorade.

Ownership: CD: 1995 Cuneiform (USA)

1995; 11/18/14 (new entry)

Exponent ~ Germany

Upside Down (1974 / 2014)

Well... here's the next big thing for archival progressive rock collectors. Imagine Spektakel as played by Eloy. This is more German symphonic than classic Krautrock, and I know many of you are nodding your head to that observation. This is a dream for keyboard fans, and there's oodles of organ, Moog, electric piano, and mellotron to absorb and treasure. While there is guitar, it plays second banana to the awesome banks of keyboards. And, as indicated prior, the album is geared more towards the symphonic progressive genre with plenty of meter breaks and compositional acumen. This is not an atmospheric Krautrock zone out. Side 2 is a bit more of a blues-based jam, and also possesses a slightly lesser sound quality, but still no less awesome of a listening experience - perhaps calling out a more classic German sound ala Sixty-Nine here. On the topic of sound quality, it's very good for an archival recording, but hardly Abbey Road Studios standard, so be sure to keep expectations in check. Top drawer this one goes in.

Ownership: 2015 Garden of Delights (CD). Full historical liner notes in English. One six minute bonus live track. Acquired in 2016.

First copy: 2014 Korusuro (LP). Single sleeve with brief liner notes in German. Acquired in 2014.

11/18/14 (review); 7/9/16

Garden of Delights has uncovered another archival release by this band, but I haven't heard it yet.

11/18/14 (new entry)

Happy Family - Toscco. 1997 Japan

Happy Family's second album is a bit more "avant prog by the numbers" than the debut which was more of a consolidation of personal influences (Zeuhl, Symphonic rock, Canterbury, Chamber) and then sped up 10x. The intensity is still apparent, though there's more of an attempt to integrate cutesy type melodies - a hallmark of the genre - as if to overcompensate for the unrelenting tension the band brings forth. There's really no standout tracks, though the two lengthier numbers seem to play to Happy Family's strength of producing massive - and fast moving - slabs of sound. Toscco is an excellent sophomore effort, and many see it as an improvement, though I felt it was more of a step back to a safe zone, and thus less influential and reckless than the debut.

Ownership: CD: 1997 Cuneiform. Typical new jewel case release. Contains original cartoon artwork. 

1997; 11/18/14 (new entry) 

Poobah - U.S. Rock. 1976 USA-Ohio

Carrying on from the debut Let Me In, U.S. Rock adds in keyboards, and there’s a distinct move to an AOR / radio friendly sound. In fact, listening to these tracks with modern ears, it’s almost beyond belief that Poobah weren’t one of the big names of the day. Catchy melodies, powerful and technical guitars, and that sound that made every major band in the 1976 / 1977 a hit on FM radio. But due to a remarkable run of bad luck, they once again were resigned to releasing the album themselves (and one would presume a major label would advise against the hilariously bad cover).

Personal collection
CD: 2014 Ripple

The easiest to find and least expensive of the 3 original 70s Poobah albums. As one can see, it features a ridiculous cover, and one presumes it's honoring or making fun of the US Bicentennial that was all the rage in 1976. The CD is excellent, as is usual for Ripple. I had to laugh at the photos, which reminded me of my own high school's yearbook! There are an additional 23 minutes of fine live material added as bonus tracks. Still no liner notes though, which is a pity.

Zeit - Waves from the Sky. 2008 Italy

Tommaso Cino (aka Zeit) is most known for his collaborations with ambient artist Alio Die. On Waves from the Sky, Cino demonstrates his passion for the German Kosmische movement, from which he takes his name from. This is pure mid to late 1970s styled analog elektronik musik - haunting, hypnotic, and introspective - influenced by the masters like 'Nightdust' era Ashra, Klaus Schulze's masterful 'Crystal Lake', Pascal Languirand's three albums, as well as home country cosmic minimalist hero Roberto Cacciapaglia. Cino was only 30 years old when this was composed and recorded, so let's hope he plans on future works of a similar cloth.

Ownership: CD: 2008 Hic Sunt Leones

11/10/14 (new entry)

Zanov - Virtual Future. 2014 France

Welcome back Pierre Salkazanov (aka Zalkazanov)! If the digipak cover is any indication, it appears Zanov rediscovered his old analog keyboard toys and picked up right where he left off with In Course of Time. It's as if he walked into the basement, saw the massive equipment, and said "Hmmm... let's see if these things still work, shall we. Oh great - they do." This is old fashioned, all-fat-analog instrumental 70s sequencer based synthesizer heaven. Somewhere between Klaus Schulze's Timewind and Richard Pinhas' Iceland is the sound of Virtual Future. As if the Egg label is still with us, and we've been transported back 35 years. Even though there are a myriad of homegrown electronic artists today, it's refreshing to hear how the old masters used to do it. I can listen to this kind of elektronik musik all day.

CD: 2014 private

11/5/14 (new entry)

Eccentric Orbit - Attack of the Martians. 2004 USA-Massachusetts

A long time ago, I reviewed a then new album by the Israeli group Trespass for Gnosis. The review basically states that if you like keyboard trio proggy prog circa 1972, then you must own Morning Lights. Well... same deal here. Maybe less similar to the Dutch group Trace and more like the Japanese virtuoso Motoi Sakuraba, but this still delivers the goods all day and all night. With some added and varied instrumentation, these guys could create that extra dimension similar to how Pochakaite Malko did on Laya. Special recognition to bassist Bill Noland, who likes to rip out some fuzz bass from time to time. Fuzz bass + mellotron = me like. Opener and closer are the definite highlights, as the aggressiveness plays well for Eccentric Orbit. This album drew almost straight 10s from the Gnosis rat pack (of which I'm part of), and I'm guessing that’s more a reflection of the nothing new assessment. But I tend to be generous to these kind of musical cheeseburgers and grade it a point higher. Big League stuff from the next iteration of Pye Fyte, itself a much neglected late 90s winner.

Ownership: CD: 2004 private

2006; 11/2/14 (new entry)

Buki-Yamaz ~ Denmark

Buki-Yamaz (1975)

Generally I don't go for Danish fusion bands with Spanish album titles, but with Buki-Yamaz, the band has the perfect blend of instrumental dexterity and melodic consciousness. Lots of flute, guitar, and Latin rhythms. Some of it is pretty mellow, and there's a certain cruise ship lounge vibe throughout, that I find somehow appealing in a warped Love Boat sort of way (similar to the Opa from Uruguay we recently reviewed). Hookfarm is the same label responsible for Fred Israel and Drops.

Ownership:1975 Hookfarm (LP). Acquired in 2014.

1/26/11 (review); 11/1/14 (update); 5/21/19

There is a compilation CD (on Music Mecca) that includes a few tracks from all of their albums. But the albums proper have not been reissued in full as of 9/28/26.

11/1/14 (new entry)

Isaiah - s/t. 1975 Austria

Isaiah's sound is more typical of what was coming from Germany circa 1971-72 with flute, guitar, and excellent vocals in the lead. It's a bit more commercialized which is common for the era. As for the second album (recorded between 1973 and 1977), this version of the band is far more bluesy than the album proper, though no less enjoyable. Very interesting group, that fits well with their German contemporaries (like a cross between Birth Control, Nosferatu, and Bullfrog), but I can't think of a similar Austrian band! While there are certainly better albums in the field, I still recommend Isaiah to fans of the genre.

Personal collection
LP+CD: 2014 Digatone

Originals are very rare and typically sell in the $300-$500 range. For years, this title was mired in the pirate world, until Digatone came to the rescue this year. In short order, Digatone have become the premier indigenous label for Austrian progressive and underground rock. The LP reissue is a 2 vinyl set that also includes a full album's worth of unique material in studio quality. The second LP had previously been reissued as a bootleg under the title of "Forgotten Records" with some slight alterations. In addition to the extra album, there are full liner notes and a CD featuring both albums. Without question, this is the de facto version to own!

Braen's Machine - Underground. 1971 Italy

Underground is simply an amazing find. Take one part instrumental film/library/exploito ala Blue Phantom, The Bigroup, Psycheground, and Fourth Sensation and complete that with atmospheres that rival the earliest Krautrock scene ala early Guru Guru and Can. Absolutely phenomenal fuzz guitar jamming throughout, with loads of studio effects to upset your inner balance and ultimately turn you into a barking mad fellow. And that's what we all are, aren't we? If not, listen to this, and join us will you?

Ownership: LP+CD: 2014 Schema. Almost precisely the same scenario as yesterday's The Feed-Back album. Originals are off the charts rare, fetching in the $1K range. So Milan's Schema has come to the rescue again, and reissued the album on CD and LP (with a CD as a bonus). And once again I picked up the LP/CD package for a few dollars more. Don't miss these reissues! And the sound is fantastic (most assuredly from the masters), and the liner notes this time are in English providing much needed detail behind this extraordinary work. And via this reissue we learn none other than Rino de Filippi is responsible for the contents within (along with Alessandro Alessandroni and a full set of studio musicians at the ready). CDRWL regulars will recall De Filippi was behind one of the greatest mysteries on the site until it was cleared up by Italian Prog expert Augusto Croce. It's great to be able to unwind all of these identities some 43 years later!

5/15/07; 10/12/14 (new entry)

The Group (Gruppo d'Improvvisazione Nuova Consonanza) - The Feed-Back. 1970 Italy

Famous film-scorer Ennio Morricone's jazz / rock / avant garde band. This 1970 album is very wiggy for the time and place, way beyond what one normally associates with "incidental film music". And marquee name Morricone adds trumpet here. Morricone himself was 42 when this album was released and already quite a known artist, hence the major label interest in what otherwise would be an entirely unwanted avant garde annoyance to the business. Given his formal classical musical training, the overall package reminds me of those establishment French persona's such as William Sheller (Popera Cosmic), Alain Gorageur, and Jean-Claude Vannier. You'd be hard pressed to find a more creative rock outing than The Feed-Back, even if you've heard it all on the Futura and Ohr labels from the same era. It barely cracks the 28 minute mark, but otherwise an essential album that is likely to appeal to the remains of your addled left brain.

Personal collection
LP+CD: 2014 Schema

This is an album I never heard of until I started doing serious research for the CDRWL a few years ago. Originals (like the photo above) will set you back... oh.... say $1,500+. Pocket change right? So for the rest of us, it was with great pleasure to see that the Milan based label Schema has come through with both LP and CD reissues of this extremely rare classic. Since it only costs a few extra dollars, I went for the LP that comes with the CD. Definitely score this one while it's still available.

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.