Jiro Inagaki and His Soul Media - Dosojin. 1972 Japan

We featured this title on the CDRWL a few years ago, and so it is with great pleasure to be able to bring it here to the UMR, now that we have a CD in hand. Dosojin is a collection of traditional Japanese folk songs, but in many cases distorted beyond recognition, and at times, very psychedelic. 

Ownership: CD: 2015 Nippon Columbia. Papersleeve.

1/5/12 (first listen / review); 6/18/15 (update)

The AC sums it up nicely: "The songs, arranged by composer Yasuhiro Koyama (who also penned one side of Toshiyuki Miyama's "Tsuchi No Ne", another of Columbia's "Adventure In Sound" albums (and also now reissued)), are all actually variations and elaborations on traditional Japanese "minyou", old folk songs known to people all across Japan for countless generations. The whole album flows very nicely, running seamlessly from solemn folky songs to fuzz-guitar and piano led progressive pieces and back again, always maintaining a deeply Japanese atmosphere."

6/18/15 (new entry)

Continuum ~ USA ~ Chicago, Illinois

End of Line (1984)

Continuum were a heavy fusion band from Chicago featuring John Redfield on keyboards, Robert Baglione on guitar, and Robert Allen on bass with various drummers/percussionists, most prominently Randy Harrah. The albums starts off a bit disconcerting on the title track with slap bass, disco beats, and cheesy synthesizers. But Baglione gets the psychedelic tinged guitar going thus adding a much needed edge to the proceedings. The jazz sequences featuring piano also light it up. Has some of the most insane guitar runs I've ever heard - imagine somewhere between late 70s Al Di Meola (technique) and early 70s John McLaughlin (tone/style). You're going to want to get your air guitar out for this one! There's way more meat on its bones than most 1980s era fusion albums. Not quite as angular as the Inserts' Out of the Box for example, but we're talking that kind of aggressiveness. A very welcome development and a window to what the 1980s could have been.

Ownership: 1984 Schmizz (LP)

No reissues as of 2/24/25.

6/6/15 (review / new entry)

Sepi Kuu ~ Finland

Rannan Usvassa (1980)

---8/4/09

Rannan Usvassa is one of the most tripped out albums from an era not known for it. Contained within these grooves are intense droning/narrative Finnish vocals, acoustic guitars, and flute - along with searing fuzz/echo/phased guitars, synthesizers, and hand percussion. The overall vibe recalls the more serious tracks as found on Krautrock classics such as Walter Wegmuller's Tarot or Sergius Golowin's Lord Krishna Von Goloka. Comes completely out of left field, especially considering the time and place. A one-of-a-kind masterpiece as far as I'm concerned.

---7/4/96

I spent many a night in back rooms of record stores in Helsinki receiving an education on Finnish progressive rock. Sepi Kuu was the crown jewel of the lot. The minute I saw the cover I knew this was going to be special - A depressed girl sitting on the grass looking across the river at the huge castle hanging on the cliff. Above there is a flying saucer. Whoa! And the music? Beyond dark and depressing.  This reminds me quite a bit of the more sincere and heavy parts of Walter Wegmuller's Tarot. Tablas, flute, harmonium, droning - almost spoken - vocals, and (best of all) the way fuzzed out guitar that is more distorted than almost anything I've ever heard. My friends from Finland tell me the lyrics all deal with deep philosophical/religious ideas. Too much.

---5/31/15

For as long as I've been collecting LPs, there really aren't that many albums that I personally discovered, but this is one of them. Or at least popularized it for the overall collector community. I was introduced to this album by a knowledgeable record store in Helsinki when I visited there back in 1993. I knew it was a special album the minute I heard it, and bought a few of them on the spot (and one was given to me as a gift). At that time, the album was a complete unknown, and I enticed well known dealers from around the world with it - and all reported back their satisfaction with the music. 

Ownership: 

1980 Help (LP). Acquired in 1993

2015 Rocket (CD). Lliner notes in Finnish (translated below). Acquired in 2015.

Sepi Kuu history

English translation of the Rocket liner notes. Once again, a huge thanks to Kai for these: "The Finnish music industry was going through a huge transition in the late 1970s. Record sales dropped dramatically with the onset of recession. This bankrupted many small Finnish record companies or forced them to stop releasing records.

Fewer records were sold, but consumption of recorded music changed, too. Of Finnish rock music styles, especially new wave punk and, briefly, rockabilly enjoyed chart success. At the same time, styles like progressive rock found their market niche shrinking more and more. Mainstream iskelmä music had been dominated by nostalgic dance music since the mid 1970s, but now it began to seek hits from more obvious pop numbers, such as Finnish covers of disco songs.

Amidst all this change, the music industry entrepreneur Jorma Heliander (1946 – 2013) set up his Tophits-Finnhits record label in 1978. The label only lasted until 1981, but it released a lot of dance music, cover versions of contemporary hits and rockabilly.

In 1980, Heliander set up another label, Heliander Production, in parallel with Tophits-Finnhits. The label operated for two years, releasing about twenty albums and a host of singles. Its greatest commercial success was the comedy album Iltaravit (The Evening Horse Races) which starred, among others, popular actor Heikki Kinnunen.

The most individual and undoubtedly least commercial album Heliander Production ever released was Sepi Kuu's Rannan usvassa (In the Mist of the Shore). Released in 1980 on vinyl only, Rannan usvassa had been recorded earlier that year in a bus converted into a recording studio. Juha Heininen was the recording engineer.

In the musical climate of 1980, the psychedelic folk rock of Rannan usvassa went almost totally against the grain. Some contemporary listeners may have been reminded of Pekka Streng's albums Magneettimiehen kuolema and Kesämaa from ten years earlier. They may have also found it dated at the time. Today it sounds arguably like an album ahead of its time. Its groundbreaking experimentalism and unconventionality have inspired and encouraged many experimental music makers in the 21st century.

Rannan usvassa is truly a solo album by Sepi Kuu (alias Teppo Lehto). He not only sang and played all the instruments but also composed and arranged all the songs and painted the cover. The lyrics were provided by artist and poet Mikko Tola (1954 – 1989).

Rannan usvassa garnered little attention on release. It never had a sequel either. Over time this record shop nightmare has become a much sought-after collector's item, with copies changing hands for as much as 600 Euros on international Internet auctions.

You are holding the first official re-release of Rannan usvassa. Shadoks Music will re-release the album on vinyl concurrently with this Rocket Records release. Unfortunately, these releases could not be made from the album master tape. It was destroyed in a fire at Jorma Heliander's house a few years ago. What you hear has been sourced and expertly mastered by Thomas Hartlage from a good-condition vinyl of Rannan usvassa."

5/4/93; 7/4/96; 8/4/09 (review); 5/31/15 (update / new entry); 7/20/24

Cytrus - Kurza Twarz. 1980-1985 Poland (archival)

If you ever wondered what it would sound like if mid 1970s Kansas mixed with early 1980s Solaris - and who wouldn't wonder about that? - then you now have your answer. With perhaps some additional guitar rave-ups similar to late 70s Fermata. It's obscure prog blender night! Seriously though, this archival release from Poland's Cytrus is absolute dynamite. Recorded from various radio studio sessions over a period from 1980 to 1985, the band goes on to prove they are an instrumental tour de force. At least for the first 11 tracks presented here (1980-82, 84). The final 4 tracks (1983; 85) apply vocals to a bit more conventional songwriting, though they never stray too far away from a creative break... or three. Cytrus' wunderkind is Marian Narkowicz, the inventive gentleman who provides both the violin and the flute.

Personal collection
CD: 2006 Metal Mind

The CD comes with full liner notes in Polish, but laid out so one can easily discern the salient facts. Many photos as well. Wonderful sound too.

Sproton Layer - With Magnetic Fields Disrupted. 1970 USA-Michigan (archival)

Back in February/March of 1998, while still a "road warrior" consultant, I had a gig in San Ramon, California, which included a corporate apartment there. So every Sunday night, like clockwork, my wife would drive me to the airport and I'd make the flight from Denver to Oakland, usually arriving by around 9:00 PM local time. As soon as I sat into the rental car, the first thing I did was turn the radio dial to KFJC, certainly the most interesting radio station one can hear in this country. They played all sorts of experimental/progressive music, and it was usually a learning experience for me. The catch was I had limited time to hear it. Since the station is based in Los Altos Hills (closer to San Jose), their range was somewhat limited. Once I crossed the East Bay foothills, into the area of what is known locally as the Tri-Valley, the signal would be broken and ultimately lost.

One evening, in that 20 minute period, on came this pretty incredible psychedelic album with fuzz guitar and trumpet (?!). Since most of what they played was modern, I was very intrigued by what I was hearing. My only fear is I would lose the signal before knowing. But I caught a break, and needless to say by now, it was Sproton Layer. No other explanation was offered. I said to myself: "Well I got to get me this new group called Sproton Layer!" lol. I started doing research on the internet, and lo and behold Wayside had it in stock, with the explanation that it was an archival release from 1970. That certainly makes sense! But why would Wayside have it? Because the ever creative Roger Miller, was not only in Mission of Burma, but also the avant prog band Birdsongs of the Mesozoic, a band who was on Wayside's own Cuneiform imprint. Amazing how all these things fit together sometimes. I bought it immediately, and now it has come up for a revisit. I'm not sure I've heard this album since 1998!

Anyway, if all the above bores you, suffice to say Sproton Layer will not! The band hailed from Ann Arbor (University of Michigan) and the music is a highly creative post psychedelic album, just prior to the progressive movement taking hold, and the trumpet adds a fresh layer of sound not typically found amongst the fuzz guitar blasts. I often say that 1970 is the American confused year both musically and socially - and Sproton Layer is the perfect representative of that era.

If you've gotten this far into the review and you're reading about a psych band from 1970 with trumpet, what might be you thinking? Yes, that's correct, the "psych monster" C.A. Quintet of Trip Thru Hell fame (from nearby Minnesota). And the results are remarkably similar. The only difference is Sproton Layer never released an LP in their day. Because if they did, it would also cost over $1,000 today. With ample availability, this is an easy recommendation for fans of late psychedelic and early progressive rock. This album is still criminally unknown.

Ownership: CD: 1991 New Alliance. Neat little archival release from New Alliance, a subsidiary of SST, and a long way from anything you would expect from the label. No doubt it obtained a release due to the Mission of Burma ancestry (Roger Miller). In doing research for this title, I discovered it was also released on LP, and perhaps even more surprising, it was reissued by Germany's World in Sound on both formats.

Kin Ping Meh - s/t. 1971 Germany

Since we're cooking on the hard rock / heavy blues psych / progressive rock borderland, it's hard to avoid stepping back into 1971 Germany - where there were dozens of such bands. Kin Ping Meh's debut is a classic of the style, with great guitar riffing, and Hammond organ solos at every turn. The vocals have that wonderful Teutonic slightly-out-tune heavily accented English that seemed to be all the rage back then. The drums are even phased, indicating that perhaps Dieter Dirks walked in to knob twiddle a bit (but it was indeed Conny Plank - so the street cred here is off the charts). The lyrics would make any of today's motivational speakers proud "..don't you know we need each other" (ad infitium) and "Too Many People..le...le.. TRY to PUT ME DOWN". The latter track being the only low point, with a bloozy boozy harmonica driven sound. As if to make up for this letdown, Kin Ping Meh blow the speakers out on the followup track, the exceptional Drugson's Trip. Some mellotron and extended space rock jamming only add to the vibe of yet another great 1971 German release. Unfortunately this was to be the only decent album from Kin Ping Meh, who seemed anxious to find their audience on American radio. With no such luck, despite multiple tries.

Personal collection
CD: 2004 Polydor /Universal

The Universal CD comes in a fine digi-pak, with a full history that I'm sure was also provided on the Repertoire CD (same reviewer). Unfortunately, this version leaves off the bonus tracks, though I haven't seen anyone speak that highly of them in any case.

Dreadnaught ~ USA ~ New Hampshire

Gettin' Tight with Dreadnaught (2015)

With CD in hand, I see they have maintained the early 60s retro jazz theme in regards to the cover and album title, a nice little detail that I appreciate anyway. The always deprecating and humorous Dreadnaught tells us "...we're 19 years in and think we're making the best music of our career. Of course, we could be completely off base about that". lol. And in their bio section we get this gem "Two-thirds of the band definitely have Italian blood". I love irreverence.

Jokes aside, Dreadnaught means business once the tape starts rolling. Blasting out of the gates with Nervous Little Dogs, Dreadnaught come out fighting with fuzz bass, heavy guitar, and roaring rhythms. I haven't heard this kind of fury since the glory days of Nucleus era Anekdoten. The Badger opens in faux disco mode, and shifts gears quickly to a Canterbury like sound. A type of music that fits Dreadnaught like hand in glove, and a sound I would like to hear the band explore further. Knife Hits is a nice bit of instrumental post rock, with some Kong-like heaviness mixed in. Barefoot Kicker is the closest thing to what one could call prototypical Dreadnaught (is that even possible?), with a hint of Americana, rural rock, and complex progressive rock. Excellent use of keyboards and violin on this one too! The odd track out is This Time Next Year which brought to mind The Steve Miller Band, but does fit their oeuvre quite well actually.

Ownership: 2015 Red Fez (CD)

5/10/15 (acquired / review)

Have a Drink with Dreadnaught (2013)

After eight years of non recorded activity, Dreadnaught come back with a new EP, that shows no signs of cobwebs. For Have a Drink With Dreadnaught the group has shed the colder Crimson tones, and have added a good dose of West Coast psychedelia. This music comes across more natural to their Americana tendencies. The melodies are more thought out, and the jams flow more freely. The Grateful Dead, or perhaps even Phish, no doubt should be part of the conversation when discussing this album. I also appreciate the retro early 60s album title.

Like their idols Frank Zappa, Dreadnaught have worked hard to avoid categorization. As such, it will be difficult for a potential fan to enjoy everything the band releases - though no one should question the musicianship, hard work, and quality of the material therein.

Former ownership: 2013 Red Fez (CD)

6/18/14 (acquired / review); 7/5/25

The American Standard (2001)

The band describes themselves as thus: "Over the course of over 17 years, half a dozen albums, and more metric shifts than you can shake a stick at, the ever-evolving DREADNAUGHT has carved out a musical niche unlike any other. This is because, very simply, we're totally and utterly deranged."

lol. Well, it's probably not far from the truth - at least from a musical perspective. If there's one persistent theme amongst the two albums I've heard, it's that Dreadnaught has a strain of Americana in them. The type of Appalachia based music one might find in Central Pennsylvania or West Virginia*. I hear elements of a contemporary fusion band such as Boud Deun, as well as historical early 70s groups from the region like Bucknell University's own Fred. On The American Standard, there's also a distinct modern Crimson influence, with its angular melodies, and dark textures. The tag one reviewer applied to Dreadnaught - "King Crimson at a Hoedown" - is most apt for this album. A very interesting direction to take for a band from New Hampshire.

* - I've read a few reviews where they refer to this as "Southern". That's a different concept altogether, and far more common to hear. The American roots music that Dreadnaught have focused on is a different strain, and rarely heard in progressive rock.

Ownership: 2001 Red Fez (CD)

6/14/14 (acquired / review)

6/14/14 (new entry)

Jackal ~ Canada ~ Toronto, Ontario

Awake (1973)

Jackal's sole album is a very fine hard rock album with bluesy guitar, choppy Hammond organ, and gritty soulful vocals. Like a more lethargic Micah, and anytime that fine band is in the reference column, then investigation should follow in hot pursuit. The album has a bit too many slow moments to be a classic, but when they're on, it is a fantastic experience to behold. Listen to tracks like 'At the Station' , 'For You', 'How Time Has Flown', 'Lost in the World', and the superb closing title track.

Ownership: 1994 The Labyrinth (CD). The Labyrinth was a joint effort between The Laser's Edge and Minotauro, who managed to get out four releases in the early 90s. Acquired in 2015.

5/9/15 (review / new entry); 9/4/23

Claudio Gabis y La Pesada - s/t. 1972 Argentina

The impact of this album has me reconsidering all of the Argentine heavy blues psych/rock albums from the early 70s, which are fortunately numerous. Blues is something that has aged well for me, and hearing some of the more impassioned hard psych records coming from the Southern Cone, makes me think I have a few more discoveries awaiting me. I owe much gratitude to my French RYM friend Horus_in_Monoxyde, who's brilliant review drew me to the album in the first place. I love his writing style anyway, but this one really caught my attention.  I asked if I could share it here on the UMR, and he graciously agreed. So with that: "Wow ! Fantastic scorching, bluesy heavy psych from Argentina with a heavy-handed, shaky amateurish production full of dirt and greasy charm. The opener "Fiebre de la ruta" ("The fever of the rut" ???) burns along and consumes itself with the intensity of something like Night Sun or Orange Peel, and features some crazy, blood-curdling screamed vocals. And that violin is really something! Even the slower, bluesier numbers like "Mas alla del valle del tiempo" or "Blues del terror azul" are genuinely trippy and drenched in a syrup-thick stew of reverb and psychedelic FX.  This is one of those lucky picks, in that it's exactly the kind of thing I want to hear right now - raw, sloppy, post-Altamont psychedelic hard-rock that sounds like it was recorded in some disused garage smelling of motor oil and cold cigarette smoke."

Personal collection
CD: 2004 Microfon / Sony

The CD above comes in a nice digi-pak, and is easy to find. I sourced one for all of $3.74 on Amazon recently.

Burnin Red Ivanhoe - W.W.W., 1971 Denmark

W.W.W. (now that's a forward thinking title) has its roots in the early jazz rock tradition, with clear influences coming from the Canterbury scene. I personally appreciate Side 1 more, as it possesses that unique Continental European take on the Canterbury sound, perhaps recalling similar era Supersister or Moving Gelatine Plates. The six minute title track is a wonderful atmospheric organ driven avant-garde piece right out of the Krautrock playbook. And the two instrumental pseudo-French titles sound like Supersister and Embryo jamming with Group 1850, which is nothing short of great. Side two is more traditional bluesy jazz rock, with gruff vocals and soprano saxophone in the lead (from future Secret Oyster honker Karsten Vogel), and comes off the highs of the earlier set.

Ownership: LP: 1971 Dandelion. Gatefold. Wonderful day-glo yellow with fire engine red lettering. 

Former ownership: CD: 2015 Esoteric (UK). Full historical notes from noted music writer Malcolm Dome (who, perhaps ironically, introduced me and hundreds of others to Metallica's Kill 'em All when he wrote for metal mag Kerrang! all those years ago). The always UK-centric Esoteric informs us in big red letters that the album was originally released in 1972 on Dandelion. Guessing then that the Danish press was a reissue.

1994 (first listen); 1998; 1/26/07 (review); 5/7/15 (update / new entry)

Eldberg - Par er Heimur Hugans. 2015 Iceland

Eldberg returns 4 years later from their debut with yet another stunning retro prog album, with excellent compositions and thick analog sounds, especially in the keyboard department. And.... they continue to bring forth epic tales sung in beautiful Icelandic. For those who insist on understanding the words, then Eldberg is not likely to be for you, unless you're fortunate enough to have spent a vast amount of time in Iceland itself. Personally, as someone who enjoys hearing music sung in the native tongue, I appreciate the vocals as yet another musical instrument, and the singing provided is well done here. In many ways, Eldberg is the second generation of the obscure Norwegian band Octopus ("Thaerie Wiighen"). Fine with me. It's not like the world is filled with albums such as this. After multiple listens, I'd say Eldberg has improved upon their already excellent debut. While they grade out about the same, the band is inching closer to world class status. I already look forward to a 3rd album from them!

Ownership: CD: 2015 Mylodon

5/2/15 (new entry)

M-Opus - 1975 Triptych. 2015 Ireland

It's about time my brethren in Ireland got into this prog rock thing (Hayes is an Irish name for the record. Then again my Ma is 100% pure Kraut and my Pa was a Celtic mutt. But hey! I have a story brewing here...). Take away the Ulster based Fruupp and the book on Irish progressive rock gets thin in a hurry. So it appears M-Opus discovered Supply, Demand, and Curve did they? Oh - you don't know who I'm talking about? Well, then... In any case, M-Opus goes much further than either band mentioned above, way into the depths of creative progressive rock, as evidenced by the 33 minute 'Different Skies' with its different tones, colors, styles, shifts, and food groups. Much attention has been paid to period instrumentation (keyboards being the most obvious) and compositional style. I'll say this to every band who insists going back 40 years in time to prove some kind of point I GUESS: You have one fan right here. And... keep going! Please.

Ownership: CD: 2015 Rude Chord

5/1/15 (new entry)

Capricorn College - Orfeo 2000. 1972 Italy

Capricorn College's debut is very similar to two other obscure Italian bands: I Santoni and Era di Acquario that we've featured here on the UMR already. While nowhere near the classic Italian progressive sound, they all feature similar ingredients including varied instrumentation and complex compositions. Like those other groups, Capricorn College could not let go of their Italian singer songwriter past, and still seemed to be yearning, or pushed, for a hit. But when the producer wasn't looking, in came a jazzy progressive rock sequence that excels at all levels. While the album is entirely inconsistent, the highs go really high here, and makes it all worthwhile.

Personal collection
none

Originals come in a single sleeve cover that will require a second mortgage if in the market for an original. The only reissue is the Mellow CD, which comes with a single tray card, and is taken from vinyl, indicating the masters are long gone. At least it's legit, so it will have to do. Though good luck in finding one these days. June 8, 2018: And I've now sold my copy given its high value.

Tarot ~ Australia

Reflections (2016)

Tarot's first album (or the compilation of cassette EP's as it were) was a great opener that had a unique blend: The music of the early 80s epic metal bands as played by 1971 era Uriah Heep.

Reflections sounds like 1974 era Uriah Heep. Period. End of story. Not the best period of that fine band now is it?

I'm all for the newer bands recreating the past, with history on their side to filter out only the best parts that have aged well to modern ears. But we don't necessarily need to rehash the past verbatim either. Is the third album going to be straight AOR, followed by a disco album, and then synth-pop maybe?

OK, I'm sure that isn't going to happen. And this is a very good album without context. But I was hoping for more dynamic output. Reflections is a bit ordinary to be honest. Interestingly, I found the vocals to be an improvement on the debut. They had to do something, though as I've read elsewhere, not everyone agrees with the execution.

Former ownership: 2016 Heavy Chains (CD). Acquired in 2016.

12/29/16 (review)

The Warrior's Spell (2015)

Tarot's first full album compiles three cassette EP's from 2014 onto one album, and adds two new tracks in the middle for good measure. The songwriting is epic metal similar to Mark of the Beast era Manilla Road (1981) as played by 1971 Uriah Heep (mellotron, Hammond organ, hard guitar). So this is what is now known as "heavy rock" but with the spirit of a metal band. I wish the vocals to be more dynamic, and they tend to be a bit monotone (at least he sings and doesn't growl or grunt!). A small quibble really. I'm not sure I can hear enough bands who sound like this. I want more. Lots more.

Ownership: 2015 Heavy Chains (CD). Acquired in 2015.

4/27/15 (review); 3/25/16; 7/19/26

4/27/15 (new entry)

Highway. 1975 USA-Minnesota

Highway are from Fairmont, in far south central Minnesota, near the Iowa border. The music is guitar fronted hard rock, with traces of radio friendly vocal lines, and the odd progressive meter. Not too far in sound from Iowa's Truth and Janey actually (same time period and region), though Highway aren't quite as testosterone fueled. It's a prototypical mid 70s Midwest American private press from the rural fruited plain known locally as "fly over country". Great melodies, killer guitar, frantic rhythms, and a hope for a better tomorrow.

Personal collection
CD: 1990 private

Originals come in a single sleeve, with a brilliant period cover of the American US and State highway experience (not Interstate). The CD is an exact replica, with some additional photos. No history, but there are 4 excellent live bonus tracks that are not on the album.

This one came up via the CD-R revisit project that is normally attributed to the CDRWL blog. When I came across the title, I was all set to add it to that blog when I saw there was a CD reissue, but details were scant. I figured it might be some old bootleg. But I kept digging until I found the band has a website. I wrote the e-mail address listed, and received a quick response. Yes, sure enough the band produced a CD some 25 years ago (or at least that's the copyright date - it's unclear when it was actually released). And best of all, it is a real factory pressed CD, not a homemade CD-R! It's not cheap ($20 + $3 for postage), but certainly worth it if you're into this type of music, as originals are quite pricey. You can order one via this link.

Nadavati ~ France

Le Vent de l'Esprit Souffle où il Veut (1978)

Nadavati's sole work is an interesting jazz rock album, that opens incongruously with Chicago styled horn charts (think album #1 of Chicago VII or the obscure Quebecois band Syncope). There's a definite Mahavishnu Orchestra streak that prevails, especially considering the violin and guitar parts. Some nice flute jazz too. They seem to favor unison runs to overlong solos, and that scores points in my book. Nadavati do not offer anything that hadn't already been done countless times prior during this era, but for what they do, it's quite excellent.

The CD offers one very relevant and lengthy live bonus track, coming it at nearly 19 minutes ('Moksa').

Ownership: 2015 Soleil Mutant (CD). Liner notes in French and English plus the one aforementioned bonus track.

10/11/09 (first listen); 4/23/15 (acquired / review / new entry); 11/10/25

The Dave Gryder Band - Midnight Fever. 2014 USA-Texas

Midnight Fever is Dave Gryder's (Blood of the Sun, Storm at Sunrise, Covenant) homage to the mid 1970s American funk scene. This album is of the hard hitting variety with gritty electric guitar, grungy Hammond, Clavinet, tight horn charts, strictly analog production, and soulful vocals. Just as in the mid 70s itself, the album borders the hard rock and funk genres perfectly. My favorite tracks also dabble in the slightly earlier era of horn rock and those include 'Reflections', 'Carousel', and 'Seaside Inn'. Dave has assembled a 9 piece band here, yet another throwback to a more creative age.

Love the period details of the cover as well, including the artwork, fonts, and back cover art of a young lady in her workout gear (complete with knee high gym socks), with headsets and vinyl spinning - as the clock strikes twelve!

If any of this review strikes a chord, then you're likely to love this album as it's even better than most of the albums it attempts to emulate.

Ownership: CD: 2014 private

4/18/15 (new entry)

Herba d'Hameli ~ Spain

Interiors (2015)

Three years later and we now have Herba d'Hameli's 6th album, and the 3rd I've heard. First thing to notice: Welcome back the flute! And along with the new flautist comes a new vocalist in tow, who brings with him the virility of a classic 70s Italian progressive rock singer. But still sung in wonderful Catalan, giving it that distinct regional quality. The music continues along the path of its predecessors, and is a wonderful example of that late 1970s symphonic progressive sound as found in Spain, France, and Quebec during that era. One can also hear the sounds of Kenso II coming through, the Japanese band themselves being astute students of this most wonderful subgenre. Hearing this album is like visiting the group in winter at a local taverna with a fine bottle of wine, excellent food, a roaring fire, and genuine camaraderie. That is to say the music is familiar, comfortable, and very much welcome. An old friend we hope we will hear from soon again.

Ownership: 2015 private (CD). Booklet with lyrics, artwork, photos, and recording details. Acquired in 2015.

3/27/15 (review); 4/4/26

  

Girafes a Sibèria (2011)

One of the key ingredients to the greatness of the previous album Inversa Visual was the beautiful flute work which immediately called to mind the great Catalan group Gotic. Said member has since left the group, and yet this album is just as stunning, which surprises me probably more than anyone else. So how did they make up the significant loss you may ask? Stunning synthesizer and guitar playing is how, with plenty of rhythm changes to keep you involved. Beautiful melodies never fail either, and L'Herba d'Hameli prove themselves here as well. This is the rare modern progressive rock album that has the warmth of a mid 1970s release. The Catalan vocals also have a soft affected tone to them which adds to the positive nature of the recording. Classic 1970's era  Camel looms large here, and it's all for the better.

Ownership: 2011 private (CD). Acquired in 2012.

10/6/12 (review)

 

Inversa Visual (2009)

Herba d’Hameli mix contemporary progressive rock with music of the past generation, one that hasn’t been heard in Spain since the glory days of Gotic and Ibio. And perhaps no surprise concerning Gotic, as Herba d’Hameli are also from Catalonia (Barcelona). Flute plays a main part to their overall sound, and frequently drives the melodic and solo sections. Rounding the sound out, you’ll also hear acoustic / electric guitar, keyboards (mix of digital and analog), bass, and drums. What makes Inversa Visual so special is their instrumental melodic quotient. Herba d’Hameli are not flashy, and rely on their instinctive ability to write a memorable tune. By memorable, I do not mean pop, but rather something that puts smile on your face without resorting to the kitschy. Lyrics are sung in the Catalan language (though keep in mind, this is still primarily an instrumental album). Oddly enough, the vocals possess a certain restrained characteristic, similar to some of the modern Italian progressive bands.

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

9/17/12 (review)

9/17/12 (new entry)

La Coscienza di Zeno - La Notte Anche Di Giorno. 2015 Italy

Given La Coscienza di Zeno's (CdZ) immense potential, I went forward with their 3rd release La Notte Anche di Giorno sound unheard. Or as we collectors like to say "auto buy". And the result? Well, unfortunately, this band continues to sit on that cusp between very good and excellent - and this time I rounded down instead of up. On the plus side, they did add a violinist full time which adds much to the melody and atmosphere department. Alessio Calandriello continues to belt it out with the best of them, and his voice is truly something to behold. I'll also give them points for supplying more textures and color while he sings, rather than sit back and be content with a simple rhythm. All this sounds like a distinct improvement on Sensitivita. And it is, so what exactly is the issue here? The songwriting. CdZ have this nagging desire to paint with broad strokes when delicate intricacies are needed. There are two long suites this time. The opener is Giovane Figlia, and I was at first quite disappointed in the direction, though I was stricken by the melody. With CdZ, I get a sense of commercial styled pop music at times when the band goes for these simpler structures. Then came part 3: Libero Pensatore, and suddenly I was mesmerized, proving to me that CdZ really are force to be reckoned with. From there through the remainder of the suite, I was captivated with the brilliance of Domenico Ingenito's violin, Calandriello's voice, and the analog/digital keyboards/piano of Luca Scherani. To me, it sounded like the very best of Sithonia (a UTR favorite) updated for 2015 (or 1973 lol). The melody line is sublime, and no one can sing it better. Going into suite number two, I was convinced this would be CdZ's finest album. But I was let down, and the return of the broader - almost Pink Floyd like - soundscapes and slow pompousness returned. The overall effect is maudlin, not joyous, or even introspective. It's not the right sound for the band in my estimation. In reading other reviews, I fear that I'm in the minority here. Let me be absolutely clear though: I like this band and I like this album. But I know they can do better (at least for my tastes, so take that for whatever it's worth). The beauty of progressive rock is that it can be played many times over and new results will emerge. For better or worse. 

Former ownership: CD: 2015 Fading. Tri-fold digipak

3/27/15 (first listen / review / new entry); 2/18/24

Reggie Lucas - Survival Themes. 1976 USA

Well... now. I think we have something here, don't we? I never heard of Reggie Lucas prior, but seeing he's the guitarist in the great Philly based disco/funk ensemble MSFB, that already brings a smile to my face (not to mention a session guitarist for a slew of big names including Miles Davis). I hadn't run into his Inner City LP after all these years of crate digging, though I probably just passed right over it without giving it a second thought. Don't make that same mistake now, folks. I went ahead and forked over for the Japanese CD sound unheard based on a reliable tip from Gnosis Mike, and it proved to be money. 'Slewfoot' is a foot stompin' Funkadelic like psych rock groover, with plenty of Lucas' wonderful guitar along with horn accompaniment and Clavinet. 'Tender Years' is the only "period" piece here, a sunny and tropical romantic 70s cruise ship dinner number that gets all parties at the table in the right mood. And probably was the "bait song" that ultimately maddened those looking for similar type sound. Lucas must have been bored out of his mind by now, as he moved right along with a fusion psych piece in 'Barefoot Song', that features plenty of melodic interplay amongst the psych guitar madness. And this leads us to the side long title track, that is at once experimental, as well as off the rails insane. Hand percussion and heavily phased guitar define this most wacky composition from this most unlikely source. The final 8 minutes actually reminds me of the eerily and similarly titled Frank Marino & Mahogany Rush live piece 'Electric Reflections of War'. Given that both pieces were released at the same time in the US (though Lucas' album was originally released in Japan in 1976, hence the CD release from there...) makes it that much more intriguing. It's just the kind of payoff track I look for to ultimately be enshrined into the Wonderful Freaky Underground of albums. This album has zero commercial potential and makes you wonder what on Earth was Lucas thinking. Well he wasn't... Thinking that is... Just awesome.

Personal collection
CD: 2015 East Wind (Japan)

Unusual in that the original version is from Japan, and wasn't licensed to Lewis' native USA until two years later. Inner City must have had a bout of madness to even bother issuing this title - at least from a financial perspective. As such, original LP copies are obscure, though can be found easily as I write this. Both CD reissues are from the original parent label. I didn't know about the 2002 mini-LP until I saw it in Discogs. I'm guessing it was quite rare until the new pressing came along this year. And it's in a standard jewel case, which is not the norm anymore for Japan. Because of this, the price is very reasonable and I suggest you pounce on this title soon before it too becomes rare.