Agora - Live in Montreux. 1976 Italy

Agora's debut is an instrumental jazz rock album, as was common for the time and place. Mahavishnu Orchestra is once again a primary influence along with Weather Report and Holdsworth-era Soft Machine. Since this is a live recording, it's considerably rawer then their peers like Il Baricentro, Perigeo, and Nova, which gives it an extra bite these albums so often need. An excellent example of the style with emotive guitar, electric piano, and saxophone. Easy recommendation for jazz rock and fusion fans.

Ownership: LP: 1976 Atlantic. Acquired from Sound Garden in Baltimore while in town for business (2021). Originals come with a pop up tree cover and this one is in perfect shape, which is hard to find. 

My first copy was the Japanese promo LP (and sold March 2018) which does not feature the gimmix cover. Nor does the Italian mini-LP, though it does have a brief history in both Italian and English. Decided to sell it as well.

1/29/03 (acquired); 9/29/16 (new entry)

Spettri - 2973: La Nemica dei Ricordi. 2015 Italy

Apparently Spettri were formed in the year of our Lord 1964. Coincidentally, that's when yours truly was born. And since I'm no spring chicken, it wouldn't be a stretch to then figure these guys are all in their early 70s. Of course, their founding was probably at age 12 with a teen beat band named The Specters. Details are scarce. But I don't want facts to get in the way of a good story, so I need the plot to stay on this 70s thing. It's a key number. As in 1973. Or, as the band suggests, 2973. Most bands that reform from the 1970s seem to have this irrational desire to be relevant in today's music culture. There's something just silly about watching old guys perform on "laptop". Spettri avoids that trap, and manages to obtain hipster status with a bonafide Italian retro prog classic (one would presume by pure happenstance). Time has stood still as the band - and yes, mostly with original members intact - has created an album that would have stood tall in 1973 much less 2015. All the hallmarks of the scene are present: Hard rocking guitar with massive breaks, crunchy organ and soothing mellotron, creative rhythms, and gravelly impassioned vocals sung in the native tongue. The compositions are complex, melodic, and memorable, perfect for repeated listens. As one gentleman remarked in his review, this really is a comeback out of nowhere. One begins to wonder about time travel and phenomena of that nature.

Spettri have created an album that needs far more attention than it's obviously received to date.

Ownership: CD: 2015 Black Widow

9/23/16 (new entry)

Taal - Mister Green. 2000 France

On their debut album, Taal carefully skate the fine line between progressive rock and musical genre hopping. There is a difference. The former integrates influences into the full composition, whereas the latter throws a bunch of mud on the wall on the hopes something will stick. The first three tracks demonstrate that Taal are a force to be reckoned with, taking the 1970s French progressive masters into the modern age regarding instrumentation (heavier guitars, better production techniques) as well as filtering the best moments of the past. But once 'Ragtime' begins, Taal takes everything to the next level. Suddenly there's no comprehensive whole, and various factions are at war with each other as to what the album's music is to be. Something akin to ordering a Supreme pizza, where there's tons of ingredients, but someone in the kitchen lost focus on the crust, sauce, and cheese. (I always think in terms of food. In fact, what's in the fridge right now?...). In any case, there's still plenty of tracks to enjoy on their own, primarily 'Aspartamus', but the craziness detracts from what could have been a focused piece of art.

Ownership: CD: 2000 Musea. Standard jewel case release

Removed from collection (2020)

2001; 9/11/16 (new entry)

VIII Strada - Babylon. 2015 Italy

VIII Strada are an Italian prog band trapped in a power metal body. Or are they a power metal band trapped in an Italian prog body? Hmmm. Either way, I've more or less described the album for you. And no, it's not prog metal either. The Italian vocals and sophisticated structures point to their progressive rock heritage. The melodic songwriting with choruses and (slightly) metal tone give them the power metal edge. I'd say they are 65% prog / 35% power metal. Not that genres only matter, but it does give some guidance at least. Oh - yes - the music is quite good actually. There's a mid 70s vibe to their melodies that I find highly appealing. Personally I would wish for more of a "retro prog" feel, but who asked? Nobody. For those who like "fusion" restaurants, and I don't mean jazz.

Sold the CD (2021)

9/9/16 (new entry); 10/10/21

The Great Imperial Yo-Yo - Chicken Island. 1996 England

With a name like The Great Imperial Yo Yo, an album titled Chicken Island, a label named Bongheads, and a booklet filled with cartoons that look like Dilbert on acid, one can be forgiven in presuming this album will sound like part of Gong's Flying Teapot trilogy. And in some ways it does, except mercifully without so much of that Pothead Pixie silliness. What you do get is coherence where it is most needed, and that's with the instrumental component. This is more Hillage's Gong than Allen's, that is to say. And while the icons of the UK Festival movement - that of the Ozric Tentacles - are definitely in the same ballpark, Great Imperial Yo Yo's sound is tilted towards the 70s, with more jazz rock influences than most of their peers.

Ownership: CD: 1996 Bongheads (Belgium)

Chicken Island came along very late in the game for the primary round of the UK Festival Psych scene, and few noticed its existence initially. Bongheads is the cultural magazine Crohinga Well's (Belgium) own label. It took me some years to finally secure my own copy for a decent price, so don't miss out if you happen to run across it.

Hopefully someone will also reissue the Blink! cassette as well (from 1993). I have it on CD-R and it's just as good as Chicken Island.

9/9/16 (new entry)

Modry Efekt - Nova Synteza. 1971 Czech Republic

Nova Synteza is Modry Efekt's second album (not counting the co-release with Jazz Q Praha), and quite a departure from the blues rock/Czech pop oriented Meditace. I think the first thing one will pick up on this album is just how BIG it sounds. The Czechoslovak Radio Jazz Orchestra (or its indigenous name Jazzový orchestr Československého rozhlasu) proved to be quite the rockin' bunch, and Modry Efekt does a great job integrating with the difficult charts. For 1971 Czechoslovakia, this album is quite an extraordinary accomplishment. It is here that Radim Hladik begins to demonstrate his immense chops on the electric guitar. There's really no album quite like this one. It's not a rock meets orchestra type release, as many a UK band did back then (Deep Purple, Caravan, etc...). Nor is it a large scale horn rock band like Chicago on steroids. The album is all instrumental, and maintains a healthy tempo throughout. Blue Effect Blues is a bit typical of the medium, until the second half when Hladik feels the need to polish off a few licks. And 'Clinging Ivy' (3rd track) sounds a bit too familiar at times with some of its cliched orchestra type melodies. Otherwise, this is an album not to be missed, both from a modern aesthetic perspective, as well as an historical one.

Personal collection
CD: 2009 Supraphon (as The Blue Effect 1969-1989 9 CD compilation)

Caedmon. 1978 Scotland

Caedmon are a Christian folk rock band from Scotland, with a psychedelic streak that comes many years past others of this sound. Perhaps Mellow Candle, Agincourt, and Spirogyra are good guideposts here, and the music is clearly anachronistic for 1978. Crystal clear female vocals, acoustic guitar, String Synthesizer, cello, and a fuzz tone guitar define this fine work. A very pleasant, breezy, somewhat harmless psychedelic album. Its reputation is well deserved for the style, though it's very much inside the rails, so not one likely to wow anyone but the most dedicated progressive folk rock collector.

Personal collection

CD: 1995 Nices/Si-Wan (Korea)

The original LP is incredibly rare and sought after (as in 4 digits). The original also includes an additional 45 single. Funny to read the Discogs sales history for the original LP. Median price: $24.55. Yea. Of course, if you drill down on the sales history, you'll see that they are all commented as reissues, and simply placed there incorrectly. Unfortunately, Discogs has a lot of bad data like that which needs cleaning up. 

It appears I first picked up this CD in the mid 90s. And that CD is a co-production of Nices and Si-Wan. The former is a division of manufacturing giant Samsung, and the high quality CD is pressed by them. In effect, though, it's simply a repress of the Kissing Spell release from England, and is credited as such.

Kissing Spell, apparently, have issues with Christianity. They don't have the balls to say it as such, but that's exactly what it is. They hide behind the following phrase: "Kissing Spell is opposed to all forms of mysticism/religion - the sentiments expressed on this record in no way reflect those of K. Spell." Do you really think this would have been appended were the album representing Shinto, Hindu, Norse Mythology, or Islam? You know the answer already. I do tire of this kind of disguised hypocrisy. They even titled the final track simply as 'Give Me....' leaving out Jesus as originally presented. That's just pathetic. If it was 'Give me Thor', you think they would have changed it? Accept the music as it was presented and let others do the judging on their own. Leaves me with a bad taste for the label.

Deus Ex Machina - Devoto. 2016 Italy

Deus Ex Machina go back to their hard rocking roots on Devoto. It's a surprising return to form, especially for a band who had dabbled in more academic avant prog waters for such a long time. Hard rock guitar, crunchy organ, shredding violin, a driving rhythm section, and the Demetrios Stratos-like soaring Italian vocals of Alberto Piras, define this fine album. It's not dumbo hard rock either, but very much the complex sound of the early 70s. Truth be told, classic Italian prog was always more heavy than ever given credit for. Even bands like Area and Arti+Mestieri kicked out the jams once in awhile. If you listen to the early Deus Ex Machina albums, this is the sound you'll find, except now with more vintage gear in tow. Devoto is about as grimy, nasty, and dirty-under-the-fingernails as you'll ever hear on the refined Cuneiform label. My kind of album.

Ownership: CD: 2016 Cuneiform (USA). Jewel case.

9/2/16 (new entry)

Merkin - Music from the Merkin Manor. 1973 USA

Where to even start? Merkin are... weird. Not-on-purpose-weird either. They're from Orem, Utah for starters - right in the heart of Mormon country. Their album was released in 1973, which is a good five years past its sell date. This kind of flower pop psych was long out of fashion and I have a feeling the band would have no idea that was the case. Merkin sound like the Free Design if they were a real psych band with a killer fuzz-tone guitar right out of the Haight-Ashbury 60s scene. Make no mistake, Merkin are a bunch of squares like Free Design, which is where the allure lies actually. For years I questioned the quality of this album, and thought it might be part of the collector hype machine. Perhaps it still is, as the compositions here are wildly uneven. But when they hit the zone, it's downright divine. 'Ruby' is an all-time classic, one of my faves of the 60s (ha). 'Todaze' and 'Watching You' are also awesome, mixing it up where you least expect it. They have this whimsical sunshine pop charm about them - mixed with an angry psych tone, that projects their inner conflict no doubt. The Osmonds they are not.

Monster album? No. But one that is so incredibly alluring. One of those 3.5 star albums that is better than the grade implies.

Personal collection
LP: 1999 Akarma (Italy)

The heavy cardboard single sleeve LP reissue from Akarma is taken directly from the Gear Fab CD, and is credited/licensed as such. So this is definitely one of their legit reissues. Unfortunately the CD itself was taken from vinyl rather than the master tapes (likely lost). And there is no additional history provided. On the plus side, the 3 bonus tracks from the CD are maintained, and the first 2 are very good.

Gift - Blue Apple. 1974 Germany

Gift is a good example of why I'm somewhat reticent of the all-encompassing Krautrock tag. It means many things to many people. I first heard this album via the bootleg Germanofon CD near on 20 years ago, and didn't think much of the music at all. Well it certainly wasn't the Krautrock I was looking for! And I hardly was a kid back then - what? 31-32 maybe? I recently obtained the Telefunken (EastWest) CD and now I hear the album for what it is: Organ driven German hard rock, another genre I'm quite fond of. What you'll find here is a mix of Night Sun, Gomorrha, Epitaph, Birth Control, Dies Irae, and Fly to The Rainbow era Scorpions (listen to the two part 'Reflections' for the latter reference). The album starts off rather straightforward, though the title track features an abundance of flute-tape mellotron, not exactly a staple of the hard rock medium. Starting with 'Don't Waste Your Time', things become obviously more progressive... and more interesting for this listener anyway. There's even some heavy Italian prog references towards the end, especially the closer. Yea, I blew the call on this one. 

Ownership: LP: 1974 Nova. Gatefold. Recent acquisition from the Denver Record Show (2022). Let go of the 1998 Telefunken CD which made up the above review.

11/21/15; 8/28/16 (new entry); 5/4/22 (LP addition)

Crysys ~ USA ~ Portland, Oregon

Hard as Rock (1981)

Crysys were a band from Portland, Oregon who released this one fine hard rock / metal album and then disappeared without a trace. Though released in 1981, they were clearly following along the same path as others of that American late 70s restless breed like Riot, Granmax, The Rods, Bad Axe, and Alkana. Judas Priest were certainly an influence, perhaps even early Van Halen. There's some sophistication in the arrangements, and all the tracks rock hard with plenty of metal riffing, and remain interesting throughout the length. It's from the era where the blues still played a major role in everything hard rock, and there's traces of that here within the songcraft. The psychedelic cover and hair metal styled moniker doesn't do the band any favors with an expected audience that never appeared, despite two LP pressings and covers. For late hard rock / early metal fans, this is an historical gem not to be missed. Excellent.

Ownership: 1981 Long St. Records (LP)

The original is on Long St. Records and features the cool psychedelic cover. The Metalworks issue (1983) usurped a photo from the back cover of the original and blew it up for their front cover. I can understand that, given the audience it was trying to lure in. Though perhaps a fantasy warrior cover may have been more appropriate.

As an aside, Metalworks was a sublabel of importer/label Jem Records, who were clearly trying to tap into the burgeoning heavy metal market. As far as I can tell, this is the only full length album to be released, before abandoning the project. They certainly had the right idea, and one has to look at their execution as an example of poor business judgement. Time has proved they made a costly mistake, and Jem ultimately ended up bankrupt in 1988 (for various reasons).

8/27/16 (review / new entry)

Syrius - Most,Mult, Lesz. 1970-1972 Hungary (archival)

As you can see, I did decide to move this CD out recently (can't keep them all!). But I thought the post would be informative for those who have an interest in the band and title.

This CD is a nice archival release of Hungarian jazz rock / proto-prog from the early 70s.

Tracks 1 to 5 are from their historic (I imagine it to be anyway) journey to Australia in 1971, where their first album was recorded as well. Jackie Orszaczky would later immigrate there and release another fine album (actually better). These songs are mostly covers save 'Who is the Clown', but all the same are excellent jazz rock renditions of familiar tunes. And easily represent the best material and production here.

Track 6 is a sprawling 35 minute jazz rock suite recorded in 1970 in Budapest, and is completely unrelated to the album of the same name released in 1976. While the composition is fairly solid, the length is not justified, the performance lacks fire, and the recording is of decent bootleg quality.

The final title track was recorded in 1972 in Budapest, and once again is a fine composition, though lacking any notable qualities.

Definitely a worthy endeavor, though not an easy recommendation, despite the enormous challenges the band must have endured back then.

Personal collection
none. Sold the 1994 CD on Gong.

The CD on the Gong label features liner notes (in Hungarian), and the details of the recordings (which I supplied above).

Tasavallan Presidentti - Pop Liisa 01. 1973 Finland (archival)

Tasavallan Presidentti are one of the "big 2" when talking Finnish progressive rock in the early 70s, at least from a commercially successful standpoint in their own native land. Like Wigwam, the band are known as diverse - but uniformly excellent - songwriters. Unlike Wigwam, they acted more as a cohesive unit when composing, and thus their albums were more consistent on the whole. But in Finland itself, Tasavallan Presidentti were most known for their live concerts, which were driven strongly by an improvisational desire. Lead by superstar guitarist Jukka Tolonen, the band moved in and out of lengthy jams with ease. Up until now, there hasn't been any aural evidence of this side of the band. Once again, these fantastic archival finds from Svart have opened up a new window for all of us to peek inside. For this session, recorded September 12th, 1973, Tasavallan Presidentti offer up two lengthy jams. The first 'Lennosta Kii', clocking in at 19+ minutes, is not easily recognizable. It's actually a composition from equally legendary jazz man Eero Koivistoinen, taken from his rare debut LP recorded in 1968. For those who have their doctoral studies in Tasavallan Presidentti's music, you then will recognize this main melody as 'Caught from the Air' from Milky Way Moses, though with Finnish vocals and significantly rearranged. As far as jams go, 'Lennosta Kii' is more than satisfactory, though perhaps not exceptional. The second and last jam is 'Dance' (14:28), taken from Lambertland, and extended considerably here. This performance is much more engaging, and there's a point past the half way mark where the band is firing on all cylinders and they catch a trance induced groove that is highly infectious. This takes the album one more notch on the rating scale. Overall the session seems like a completely new album, and not simply live readouts of previously recorded material. An absolute can't miss purchase if you at all have any interest in 70s Finnish progressive rock.

Ownership: CD: 2016 Svart. Combined on the same CD with Jukka Hauru & Super Kings (Pop Liisa 2). Fantastic archival release with full historical liner notes and relatively great sound.

8/25/16 (new entry)

Opa ~ Uruguay

Goldenwings (1976)

If you read enough of my reviews (painful as it may be), you'll note I often refer to certain fusion albums as "light, breezy, and tropical". One would have to go to great lengths to find a more apt group that fits this description than Uruguay's Opa. These terms should not be viewed upon as a pejorative however. When done right, as is the case on Goldenwings, the results can be sublime. The melodies are superb here, and I find the songwriting to be considerably above average. Overall, Goldenwings makes a fine soundtrack to your next Love Boat excursion, whether on a tropical island or watching it on TV.

---7/7/26

I spoke of the composition style, but didn't talk about the instrumentation. This is also a key to appreciating Goldenwings. Flute, mid 70s analog synthesizers, Fender Rhodes, and amplified electric guitar go a long way to helping enjoy this album.

Ownership: 1996 BMG (CD). With liner notes in Spanish. Acquired in 2016.

8/25/16 (review); 12/18/17; 7/7/26 (update)

8/25/16 (new entry)

Streetdancer ~ USA ~ Chicago, Illinois

Rising (1977) 

From the Chicago area, Streetdancer are one of the more energetic of the jazz fusion bands to come from the USA. Their debut borders on free jazz, is entirely dominated by saxophone, and is a difficult listen. However on this, their sophomore effort, the music is completely different. Adding a guitarist and a violinist, Streetdancer jumped in with both feet in crafting their version of the early Mahavishnu Orchestra sound. And it smokes pretty much from the beginning to the end. This is the kind of rough-hewn fusion I personally love with distorted guitar, soaring violin, and an active rhythm section. It gets a little loose in places, not surprising given their free jazz background, but for the most part it's a tight, kinetic barnburner. No fusion head should be without it.

Ownership: 1977 Dharma (LP). Acquired in 2003.

No reissues as of 6/15/26.

2003; 8/24/16 (review / new entry)

Top Drawer ~ USA ~ Ohio

Solid Oak (1972)

Top Drawer play a straightforward blues rock, but with strong psychedelic and hard rock underpinnings. The latter is best exemplified by the guitar leads which are stronger than most from this era, especially in the Midwest private press arena - in fact, it's a sound you're most likely to encounter in the region circa 1972 or later (it turns out that the 1969 date was wrong too). So Top Drawer were definitely ahead of the pack in that regard. The organ is present only as dressing to the overall salad. The songwriting is quite good throughout, with only the 'Baker's Boogie' track being somewhat a waste of time, though I'm sure it was popular in the local clubs of the day. I can see from other reviews that folks are frothing about 'Song of a Sinner', but personally I hear it very much in league with the other tracks here, perhaps drawn out a bit more with its bluesy vibe, though arguably it's still the album's best composition - along with the hard driving closer 'Lies'. Nothing on the album is extraordinary, but a very solid release throughout, and much better than I had anticipated. A little bit of an early Dragonwyck vibe here too (from nearby Cleveland), minus the obvious Morrison-isms.

Top Drawer were not from Kentucky as is widely cited in catalogs and on the internet, but rather from Mansfield in north central Ohio.

Was reissued by Guerssen in 2022.

8/22/16 (review / new entry)

Gerard - Live in Marseille/Battle Triangle. 1998 Japan

Gerard had 7 studio albums prior to this, their first live album. All the tracks have been culled from their studio recordings, and there's an additional cover of a Banco del Mutuo Soccorso composition from Darwin. Generally live albums bore me, as they're nothing but a run-through of the studio material, but recorded in front of a live audience. That's not the case here. First of all, it's just the keyboard trio. As such, no vocals or guitars are present. Rather it's a non-stop blitzkrieg of Hammond fueled* instrumental workouts with fuzz bass and hyperactive drumming - and where each track has been turned up to "11". The album is just relentless in its intensity. Those looking for color or nuance will need to skip right over this one. Imagine the 1970 UK group Aardvark on a non-stop bender without vocals. Not for the fainthearted.

*This is absolutely the sound they obtain, but in reading the liner notes and the internet, it appears all the keyboards used were modern day Korg synthesizers run through Leslie pedals. If only other contemporary bands had adopted such a thick and meaty sound!

Ownership: CD: 1998 Made in Japan. Purchased new upon release, based on recommendations from friends. The album is titled Live in Marseille, subtitled Battle Triangle, and further it says "Ltd. Edition for Fan Club", as the indigenous release features one short bonus piece called 'Revenge', which sounds just as great as everything else on the album.

8/21/16 (new entry)

Stencil Forest - Opening Act. 1983 USA-Indiana

Small world time for me. One of the members of Stencil Forest is the older brother of a very good friend of mine who I met through my work in the software industry. When I first visited his brother (who had already relocated to Denver where we all lived), he stuck this album in my face and said "So you're into obscure rock music - bet you haven't heard of Stencil Forest?". He was right - I hadn't (this was back in 1995). They were from that unlikely hotbed of talent - Fort Wayne*, Indiana (Ethos, latter day Happy the Man). For those that are exceptionally perceptive, they did indeed get their name from the Happy The Man tune and apparently hung out with them quite a bit in the early 80's. So fast forward to 2004. They just re-mastered the tapes and privately released their sole album on CD. It sounds absolutely fantastic! Very professionally done throughout. Musically this is Midwest pomp/AOR with a prog twist. Think Styx, Kansas, later period Starcastle, REO Speedwagon, Shooting Star, etc… Oh you know, stuff that comes from this list. Given the progressive leanings, probably the Canadian group Saga would be the most apt comparison. What’s most interesting is how creative some of the instrumental breaks can be. Not in a flashy chops way, but very much like a Happy The Man or Genesis in their prime would do. There’s also the cringe inducing choruses and obvious play for radio, but they really were shooting for the big time, as was everyone else in those days. Had this come out a couple of years earlier, they might have made it too. The only song on here that plays it straight throughout is 'Looking Back', one that can be skipped over quickly. The title track is a Cliff Notes version of what Stencil Forest are all about. You’ll be fumbling for the remote after hearing the starting sequence with its 1980's AOR guitar chord rock and insipid chorus lines. Then, suddenly, the composition shifts to a complex and highly melodic mid-section. And back and forth it goes. This type of adventurism wasn't found on most 1980's arena rock albums. 'Celestial Voices', 'Just a Fantasy' and 'Crossroads' all have this yin / yang quality about them. 'The Pandemonium Shadow Show' is, not surprising with a title like that, the all-in progressive rock track that makes fans of the genre wish they'd just done a whole album of similar. It’s also the longest track clocking in near 9 minutes (again no surprise). The final two tracks, 'Indian Summer' and 'Five Studded Poker Player' are probably the best overall when considering the balance of melodic content and progressive interludes. In fact, the latter track would've been my surprise pick for a single, as it has the type of hook that lasts long after the album has ceased playing. Even the 1992 bonus cut ‘Five by Five’ is similar in construct. For vintage gear heads, it’s the Willy Wonka Chocolate Factory with Mellotron, Hammond B-3, Mini-Moog, and Hohner D-6 Clavinet. Stencil Forest are a six member group so a lot of ideas and synergy can be heard. I can really appreciate the time and place aspect of this kind of music. And this is one of the finest examples I’ve heard – especially for the genre’s late date.

*Some of the band members were from Elkhart, but they set up shop in Fort Wayne.

Ownership: LP: 1983 Realtime. Single sleeve. Online acquisition (2018).

CD: 2004 private. Jewel case release with one bonus track. Acquired as noted above.

9//04; 8/21/16 (new entry)

Sintesis - s/t. 1976 Argentina

Sintesis were an obscure instrumental band who released this one fine album back in 1976, and this is my first exposure to the work, perhaps unbelievably considering its greatness. Sintesis' music is at that exciting point between jazz rock and progressive. In particular the guitar playing is kinetic, and provides the jumpy leads over the irregular rhythms. At times, an edgy fuzz tone psychedelic guitar adds an incendiary element. Soft lines of flute and violin smooth the edges, and provide the beautiful melodic phrases. This is an album that seems to be on the precipice of jumping off to immortality, only to be reeled back by more traditional jazz rock offerings, often times lead by the saxophone. In particular 'Algunas Maneras De Expresarme' is sublime, as are the opening two tracks and the closer. The CD on BlueArt (see more below) adds an excellent bonus track. When looking at comparisons, one hears the early 70s Italian jazz rockers such as La Seconda Genesi or Duello Madre. Combine this with local stars such as Crucis, jazz rock era Arco Iris, and the equally obscure El Trio. A super find, when it seemed all others of its ilk had already been dug up and safely placed in museums.

Personal collection
CD: 2016 BlueArt

The new CD on BlueArt is awesome, with excellent sound (appears to be from the masters), and full liner notes (in Spanish though), plus the aforementioned bonus track. BlueArt specializes mainly in jazz and Tango, so this is my first exposure to them, even though they've been around for over 15 years. The CD has yet to be entered into Discogs, which I may end up doing myself (and just did...). To the best of our knowledge, this is the first legitimate reissue. It appears the excellent PRW of Brazil had intended on reissuing it nearly 20 years ago, going so far as to apply a catalog number, but we (the collective we) cannot find evidence of it actually being released. If anyone can prove this to the contrary, I would be much obliged. 

TEE - Tales of Eternal Entities. 2016 Japan

The fluidly named TEE this time stands for Tales of Eternal Entities, and this is the Japanese band's 3rd album. I had feared that TEE's involvement with French TV's latest album may have given the group a new found rigidity. Fortunately that is not the case, and TEE return with their distinctly mid to late 70s warm European progressive rock sound. Flute, guitar, and analog sounding synth lines dominate the melodies, while the rhythm section mixes things up often to keep the music from becoming static. As in the past, you'll hear traces of Asia Minor, Solaris, Gotic, and perhaps more pointedly than ever, the godfather of such a sound: Camel. TEE could also be seen as an instrumental parallel band to Spain's L'Herba d'Hameli. 'Epimetheus' is a brilliant opener, and it appeared this album may well in fact be their best work to date. 'Mother Earth' is another standout track. There is nothing less than what I would consider an "excellent" track here. I would offer that Tales of Eternal Entities is a hair off the pace from the prior Trans-European Expression, but all of their albums are outstanding and not to be missed. Borderline 4.5 stars here (Gnosis 11), but will stay conservative. One of the best albums from 2016 so far for my tastes.

Ownership: CD: 2016 Musea Parallele

8/19/16 (new entry)