Hydravion - Stratos Airlines. 1979 France

Hydravion's second album is probably one of the most misunderstood albums one can find. Of course, the cover art contributes greatly to buyer confusion. On first glance, one can be forgiven to think this to be yet another late 70s Parisian coke filled disco party extravaganza. Voulez-vous coucher avec moi, ce soir? And then the opening misspelled 'Passadena Airport', with its repetitive beat, seems to feed the bias, leaving only the most dedicated listener to persevere. Once 'Telecom' begins though, suddenly the party is over, and the nightmarish world of Philippe Besombes begins. The French narration of 'Ligne Equateur' takes you further down the dark tunnel where it lands at the album's high water mark: The one-two punch of 'Carolyn Sud' and 'Santander'. Here we're as close to Heldon's Interface as any mere mortal will ever get. The positively haunting closer, with its biting psychedelic guitar, leaves a lasting mark on a truly great piece of art.

Perhaps had they named the album Stratospherique, with a Hipgnosis cover similar to the first, would the album be held in higher esteem today. Blame the marketing department.

Ownership: LP: 1979 Carrere. Single sleeve. Purchased at Waterloo Records in Austin (1988).

CD: 2016 Purple Pyramid (USA) As part of the 4xCD Original Album Series (Philippe Besombes).

3//88; 5/25/09; 11/12/16 (new entry)

Hydravion. 1977 France

After a handful of dark, complex, and remarkable electronic rock albums on the Pole label, Philippe Besombes created a more accessible vehicle for his talents. Thus was born Hydravion. 'Métropolitain' starts with a slightly bouncy, disco tinged, electronic sound - a style that was quite popular in Paris in the late 1970s. But this being Besombes, it doesn't take long for Hydravion to sound more Heldon than Chic. Starting with 'Triste Fin', Hydravion's debut features anguished fuzz guitar leads, bizarre interludes, alien voices, and a whole lot of invention. Many folks tend to overlook Hydravion, but give the album a few minutes to settle in, and you'll see this as a top tier French progressive electronic work.

Ownership: LP: 1977 Cobra. Single sleeve with a cool Hipgnosis cover. Purchased this out of Goldmine in 1987 while still in college.

CD: 2016 Purple Pyramid (USA) As part of the 4xCD Philippe Besombes Original Album Series box set. Unfortunately the CD for this album is taken from vinyl, and obviously so. Better than nothing. But the box set is awesome and comes with complete liner notes.

1987; 5/25/09; 11/12/16 (new entry)

Arktis ~ Germany

Arktis (1974)

Arktis were a band from Bonn, that are more known for their countless tape sessions, than actual proper albums. This debut is in reality a demo, pressed in a whopping set of 300, and sent everywhere in West Germany. The strategy actually worked, and next thing you know they are working with Conny Plank and trying to secure a deal with a new label. But it all fell apart, and Arktis were just a hazy memory, saved from obscurity by the good folks at Garden of Delights, who have dutifully released everything under the sun recorded by the band.

It was over 20 years ago that I first heard the Penner CD (GoD V. 1.0). I quickly dismissed it as "yucky Janis Joplin like stuff" (yes, I do relate to the younger, more opinionated folk on music chat boards). Now I hear a band that is a perfect fit for my Post psychedelic, proto progressive with female vocals list! 1974 is way late in the game for an album such as this (recorded Oct 1973), and it may explain why record deals were not at the ready. But it's that sound. Side 2's opus is a lengthy Krautrock guitar based jam, that would be well accepted if it were 1971, but a bit cliched by this point. There are no keyboards here, so another minus for fans of the genre. But this is miles better than my memory had recalled. A winner from a time and place perspective. Otherwise, you would be best steered away. Perhaps that would have been good advice for me while still in my 20s.

Worth noting that the three studio bonus tracks on the CD were recorded under Plank's guidance (Dec 1974), and it has his trademark studio phasing and trickery. The compositions are a bit straightforward hard rock though. Not sure the band was heading in the right direction honestly.

Ownership: 1998 Garden of Delights (CD). Booklet with a full history. Acquired in 2016.

11/12/16 (review)

11/12/16 (new entry)

Marsupilami - Arena. 1971 England

If you ever wondered what the prog rock scene would've sounded like had it existed during the Roman Empire, and who wouldn't think about that, then Arena is as close a facsimile as the imagination allows.

I'll probably go to my grave never understanding why this album isn't as highly revered as I think it should be. One of a kind greatness, that is only bettered by their debut album. Personally, I feel Leary Hasson is among the finest progressive rock composers ever. He had one more great composition to contribute after this (on CMU's Space Cabaret), and then off into the wilds he went. Yet another creative genius that will likely be noted as such - but sadly many years in the future after we're all long dead.

Personal collection
LP: 1971 Transatlantic
CD: 2005 Arcangelo (Japan)

The original is housed in a thin, but nicely textured, single sleeve cover. The Arcangelo CD replicates this cover to the finest detail. For a long while, Arena was strictly the fodder for pirates, as the Line CD had been OOP for many years. Not until the Esoteric CD reissue, did it return back to general supply.

Stern Combo Meissen - Reise Zum Mittelpunkt des Menschen. 1980 Germany

The Stars of Meissen, who hail from the namesake town near Dresden, were arguably East Germany's most accomplished progressive rock group. Reise zum Mittelpunkt des Menschen is the second of their two recognized progressive rock classics and is a keyboard extravaganza. There are three distinct types of compositions present here, each defined by the predominant keyboard of choice.

On the "modern" front, one will hear the latest polysynths of the day, which many now call "cheesy", though I suspect as time moves forward, this particular sound will take on a life of its own. The music here has a certain Iron Curtain patriotic vibe, as the working man stands proud with his rigid face looking upwards. It's a type of progressive one might hear in the Soviet Union, somewhat like Edward Artemiev, or even Horizont. There's a bit of Eloy here too, in regards to the spaciness.

The second type of composition is driven by the trusty Hammond organ, and represents some of the best material here. In fact, the choppy manner of playing and irregular rhythms recalls the much unheralded (west) German band Trilogy. Though the shadow of Keith Emerson looms large as expected.

And then finally, and perhaps most surprising, is the heavy dosage of mellotron. It's a surprising sound coming from the East, and its usage is dominant in places - to the point of Jose Cid / Quarteto 1111 territory. You have to feel sorry for the poor sap who had to go in front of Procurement to justify how the mellotron is an essential purchase for the State. If only to have been there as they roll the mellotron through Checkpoint Charlie...

So overall a superb example of 70s Eastern European progressive rock. All the lyrics are in German, as was every album on the other side of the Wall.

Personal collection
CD: 1993 DSB / Deutsche Schallplatten Berlin

The album's original copyright date is 1980 (on the State run Amiga label). Like Trabant's, one will often find the LP beaten, and left by the side of the road. As such, it's highly recommended to secure a CD, though there's only one legit pressing and it's tough to find (of course it is...). I'm not 100% certain here, but I believe DSB is the renamed Amiga label.  I bought mine not long after it was released. In doing research for this entry, I see the album has been reissued with most of their discography in an Original Album Series type format. But since most of their other albums are not of interest to progressive rock fans, it's still a costly endeavor.

Originally published January 30, 2010 and pushed forward to current date with completely rewritten notes.

Brainstorm - Smile a While. 1972 Germany

Fashion Pink were a band from Baden-Baden, in southwest Germany, not far from Strasbourg, France. Before recording their debut album Smile a While, the group suffered a debilitating road accident, which lead to a band name change - and Brainstorm was born (named after the business technique of "brainstorming" of all things). Their brand of music was clearly influenced by Soft Machine, in that legendary period between "II"and "III" (think Noisette here), and it's a brilliant blend of sophisticated progressive jazz rock, mixed with a whimsical psychedelic pop streak that is irresistible. They were clearly Germany's answer to the nearby French Genius Hans of Moving Gelatine Plates. The title track then goes off into Krautrock land just to ensure we don't forget the influential psychedelia aspects of the early 70s, similar to how Eiliff would do on occasion. So basically in the world of Ashratom, it's absolutely the perfect type of album. Sophisticated, edgy, melodic, memorable, and oh yea, it rocks hard too.

Personal Collection
CD: 1996 Musea (France)

Presumably I don't need to explain why I haven't pursued  an original LP of this... (though I wouldn't pass it up if I was offered one at a good price). The Musea CD is the first official reissue and features a nice sound (though there is some scratchy dropout here and there on the title track and 'You are What's...'), with excellent historical liner notes, photos, and 3 superb bonus tracks (which I believe were also on the Fashion Pink SWF Sessions later released by Long Hair (and also comes highly recommended)). The notes above actually came from the 2009 Lion release that I sourced for comparison. I was hoping for a different presentation, but other than a layout tweak, liner note grammar fixes, and a bit of extra verbiage, it is basically the same in every way (including not fixing the sound flaws), and was fully licensed from Musea. Not a necessary addition if already owning the Musea copy, so off to the sell bin it goes. But if you don't own it, be sure to nail the Lion copy as the other is OOP.  Interesting to note that the only native reissue of this album is the Think Progressive LP.

Modry Efekt - 33. 1981 Czech Republic

33 is Modry Efekt's final studio album, and they exited in fine fashion. Musically, Modry Efekt continues along from their earlier efforts, with blistering guitar leads, and fine synthesizer soloing. The 4 long tracks give the band plenty of space to try many ideas within a composition. Unfortunately the vocals are getting to be too obtrusive at this point, and the term "over dramatic" does begin to leap into one's mind. Though the album is mostly instrumental, the finale of each track tends to drag with unnecessary crooning, which drops this album down a half star from the others.

Is it just me or does the album cover overtly celebrate individual achievement and comfort? Seems they missed a key point of the Revolution... Well, the Czechs always had the best beer, so perhaps the Authorities were a bit preoccupied (hmm-hmmmm...)

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

This is our last entry for the 9 CD box set, though I did leave out a couple of albums, which I probably will report on at a later time (including my favorite A Benefit of Radim Hladik).

Just a few words about the box itself: If you don't own any Modry Efekt, then this box set will take care of everything you need. It includes all their albums except the English language version of Meditace (Kingdom of Life). They each come in a nice slip cover resembling the original LP design. It also comes with a fine booklet, all written in Czech, but with some neat photos and you can generally figure out what the text is.

The only unique material here is the 9th disc titled Singly & Bonusy. I don't speak Czech, but I think I can figure this one out... In any case, it's a fine addition, though it's not something you'd want to purchase the box set for if you're already in possession of their other discs. The best material is taken from their Snakes EP from 1969, and is similar to Meditace. They also include both sides of another single from 1969 that is quite good. Interestingly, the band only recorded one single in their 1970s heyday (from 1973), and it's pretty good, though not really resembling their move to progressive / jazz rock. After that it's... the 80s. Yea... that's a problem. And it sounds every bit of it too. So that by 1989, one is inclined to shoot the horse just to put it out of its misery. It's interesting all the same, and you can see the band is desperately trying to stay relevant, but it's clearly not their strong suit. The bonus section includes one rough demo of a 1969 track, and then 2 live extended pieces from the band's best period of the late 1970s. The recording is bootleg standard, but is enjoyable from an historical perspective.

Formula 3 - Sognando e Risognando. 1972 Italy

Formula 3 were a band from Milan, and who were actually the most popular rock band in Italy prior to PFM landing on the scene. Primarily they served as a vehicle for famous pop singer Lucio Battisti, and as such, their music was embraced by various generations of Italians at the time. Sognando e Risognando is their 3rd effort, and is a radical departure from what came before it. Mostly the music on this album is a mix of progressive hard rock (with some wonderful guitar breaks) and space rock, with some of that feel-of-Italy singer-songwriter sprinkled throughout. It's a unique blend, more about the atmosphere than pyrotechnics. As such the album tends to be dismissed by scan-through-listeners wowed by the razzle-dazzle of classic Italian prog. Given that it's an early effort, prior to the Italian progressive rock machine really taking off, deep divers will recognize the sounds of early Il Rovescio della Medaglia, Panna Fredda, Planetarium, and even Garybaldi. History hasn't been kind to Formula 3 however.  Whereas fellow popular artists of their era such as Premiata Forneria Marconi and Banco del Mutuo Succorso continue to be lauded as eternal classics, Formula 3 has largely been cast aside and forgotten. While it's true they were no match for the other two listed, they certainly are in league with more obscure artists that today are held in high esteem. Don't ignore this one - and give it a fair listen, without expecting the next Semiramis or Museo Rosenbach.

Ownership: LP: 1972 Numero Uno. Gatefold with top opening. Purchased at Recycled in Denton all the way in 1988.

1988; 1989; 11/10/16 (new entry)

Il Baricentro - Sconcerto. 1976 Italy

Il Baricentro were lead by the Boccuzzi brothers, and was their next venture after the folding of the excellent progressive rock band Festa Mobile. The moniker is an homage to the homeland of the brothers who were initially from Bari, Puglia in the south, before relocating to Rome with Festa Mobile.

Sconcerto is their debut album, and comes at a time in Italy when prog was out and jazz fusion was in. And as such, Il Baricentro fits squarely within the movement. The opener is a barnburner with irregular rhythms and dynamic soloing, similar to how the New Trolls Atomic System might do occasionally. Sadly this would be the only track in this style across both Il Baricentro albums. Had they done more music like this, I think the album would be held in better esteem today. That being said, this is not a poor effort at all, and I disagree with those that say it's cheesy. It's very much a product of its era, and the fusion is pleasant, a bit funky as to be expected, with plenty of great analog gear pushing it along. The melodies are nice, and it's clear the band took their time on the compositions. Perhaps not as dynamic as Napoli Centrale, Etna, or Nova, but definitely Il Baricentro belongs on that page of the encyclopedia.

Personal collection
LP: 1976 EMI

Modry Efekt - Svet Hledacu. 1979 Czech Republic

Svět Hledačů is the 6th album from Modry Efekt (not counting split and English language re-recordings). The band continues their journey down the symphonic fusion path, both looking forward and backward. On the forward side, and I mean that historically not artistically, the group displays more of a late 70s funky feel into the music. On the backward side, or what we would now call "retro", Modry Efekt peppers in some early 70s progressive rock themes. There's a couple of places I recognized the type of composition Genesis might come up with in 1972 - sung in Czech mind you. Through it all, Hladik continues to demonstrate his supreme guitar acumen. And the production is outstanding with a particularly fat sound that is highly appealing to the modern ear I would like to think. Not their best album, but certainly in the conversation.

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

Epitaph - Outside the Law. 1974 Germany

Outside the Law is the 3rd effort from German rock band Epitaph. Recorded in Chicago, this album really stretches the definition of the term Krautrock. At this point, it is very clear the band is aiming their sound towards American audiences, and even the titles refer to common southern redneck themes. Couple that with the twin guitar attack, and one cannot ignore The Allman Brothers reference here, though as others have stated, Wishbone Ash is also a fair guideline - especially when one considers bandleader Cliff Jackson is British. A fine album (especially side 2), though not at the level of its two heavy rock predecessors, most notably the debut.

Ownership: CD: 2000 Repertoire. Features a fine sound, and full liner notes that explain much about the band and recording. Many sources continue to maintain that the German release on Membran is the primary, though I don't think that is historically correct. Especially when one considers the Membran label says "An Billingsgate Production" (sic), and that Membran was primarily a distributor. The US label went bankrupt not long after this, and left Epitaph in a lurch for awhile. I bought the Billingsgate LP while still in college in the middle 80s (used, on the cheap - of course), but it wasn't much to my liking back then.

11/9/16 (new entry); 2/14/23

Slauter Xstroyes - Free the Beast. 1987 USA (archival)

Slauter Xstroyes were a metal band from Chicago that toiled in the 80s underground for a few years before dissipating into the wilds. Free the Beast is an archival recording made up of primarily what was to be their second album in 1987. In addition to the 33 minutes of quality studio material, the album is doubled in length with demo's going back as far as 1981. The metal music on display here is highly inventive, at the earliest days of what would be later known as prog metal, but much rawer and authentic than that tag usually implies. SX (as they were often referred as) were created from the same cloth as Fates Warning, Brocas Helm, Manilla Road, and others who were adding unique elements to a traditional metal sound. The riffs are crunching, and meter shifts are exciting and natural. This is the kind of music that takes many listens to absorb. John Stewart's screaming vocals will break glass, while Brent Sullivan's bass work predates John Myung's jazz fusion style. Somewhere between 70s Judas Priest, Iron Maiden, Fates Warning, Helstar, Mercyful Fate, and even Watchtower, one will find the sound of Slauter Xstroyes. Superb.

An interesting side note, for me at least, is that I never even heard of this band back in the 1980s. Now I'm sure that might seem obvious on first glance, except I had a voracious appetite for metal in the middle 80s while still in college, and I was reading every English language magazine I could get my hands on back then (Metal Forces, Kerrang, and any cheap looking rag). Even bands like Sacred Blade hit my radar. But not Slauter Xstroyes. And sure enough, apparently the only media coverage the band received was from the Dutch mag Aardschok. I mention it, because Free the Beast (and presumably their debut Winter Kill, though I have yet to hear it) is exactly the type of metal I was looking for. I was tired of the norm, and bands like Fates Warning were much more interesting to me. The exciting aspect about it for a collector like me is that there were others just like SX back in the day, and they have been (or probably will be) exposed.

Personal collection

CD: 2009 Forged in Fire/Rockadrome

The CD on Forged in Fire (Rockadrome - Monster V 2.0) is awesome, with great sound, a history, and two lengthy interviews from the founding band members that are very insightful.

Modry Efekt - Svitanie. 1977 Czech Republic

Svitanie is the 5th studio album from Modry Efekt, and is one of their finer outings. Instrumental rock/jazz fusion is the music of choice, though there's still a small hint of their big band Nova Synteza days that creep in (especially on the title track). Guidepost sounds include nearby comrades Fermata, the Dutch groups Focus and Finch, and even Sunburst-era SFF, when one considers the synthesizer work. Have to agree with others here regarding the synth tones, which are definitely pleasing. Radim Hladik continues to light each of his recordings on fire with his exemplary guitar work. An excellent album.

Ownership:

2009 Supraphon (CD). Part of The Blue Effect 1969-1989 9xCD compilation.

1980 Opus (LP). 2/80 pressing.

11/8/16 (CD acquired / review)

Iliad ~ USA ~ Los Angeles, California

Sapphire House (1978)

A stunningly beautiful album. I've already written about the debut Distances, but Sapphire House takes everything to a new level. Piano remains the primary instrument, and the music is a mix of deep grooves, high flying jazz fusion, and melancholic atmospheric numbers with oboe and wordless female vocals. 'Beyond the North Wind' is a jaw dropper - a sixth dimension type of composition that will leave you speechless in wake of its beauty. This is an album still awaiting its discovery and audience. There's enough breaks and grooves here, that even the DJ crowd would find plenty to latch onto.

Ownership: 1978 Northern Lights (LP). Acquired in 2016.

11/8/16 (review / new entry)

Distances (1976)

Lead by keyboardist Sandy Owen, Los Angeles based Iliad present a fairly mellow and relaxed symphonic progressive album. At times the tranquil piano and flute give off a proto New Age feel. Features a couple of rockin' rave-ups, as well as an extended jazzy improvisation on the familiar Beatles chestnut Norwegian Wood. The mixed classical-progressive-jazz-new age style recalls Minnesota's Sailor (1974) in many places. Two groups from completely different regions drawing a somewhat similar musical conclusion.

According to Owen's website, the album release is clearly set to 1976 (there's absolutely no date to be found anywhere on the LP proper). 

Ownership: 1976 Northern Lights (LP). Textured. Acquired in 2015.

No reissues exist for either album as I update this post (5/4/26).

2009; 2/22/15 (review / new entry); 12/29/24

Fuchsia. 1971 England

Fuchsia's sole album can be described as thus: It's less pure folk rock than the Trees; not as lush as Mellow Candle; or as off the wall like Jan Dukes de Grey, or Comus, can often be. But somewhere within those parameters exist Fuchsia, an essential slice of that distinctly UK progressive folk rock sound. A very fine example of the genre.

Personal collection

CD: 2003 Night Wings (Italy)

The CD on Night Wings is excellent. It's housed in a fine digi-pak, and features liner notes from band leader Tony Durant, who also oversaw this reissue. I see that Esoteric has since reissued it in 2014, and I'll be curious if they improved on the sound. And there is room here for just that.

Holding Pattern ~ USA ~ Hartford, Connecticut

Holding Pattern (1981) + Majestic (1981-1990 / 1991)

Holding Pattern were a very good progressive rock band from Hartford, Connecticut, and who released one EP in 1981, and resurfaced again in 2007 with their first full length album. Majestic is the first CD reissue of the EP, and also includes roughly 50 minutes of unique archival material - live and studio - from 1981 to 1990. Given its hodgepodge nature (modern home recordings with drum machines, live tracks from the early 80s, a lonely commercial styled single), the overall CD is not near as consistent or as satisfying as the EP itself. The highlights are clearly the live material from the band's progressive rock heyday (tracks 10-14) and represent ~30 minutes of music, making this CD clearly worth the effort to find.  Of course, you can expect the quality of the live recordings to be varied, but certainly more than acceptable.

---12/18/25

Some further notes: The EP is all instrumental, with lots of 70s analog keyboard gear. Tony Spada's guitar playing is very expressive. This was released in the American progressive rock private press heyday of the late 70s and early 80s. So many bands were too late to the dance, so it was a do-it-yourselfer culture. It's a pity there wasn't more of a focus from the majors at this time, as we could have experienced quite a different 80s landscape. Of course one has to follow the money in a capitalist society, so it certainly makes sense these albums were "in the closet" as it were.

I think the track ordering of this CD should have been different. I would have placed the 1981 live recordings immediately after the EP (which the band calls a mini-LP fwiw). Then the 1983 single, followed by the mid 80s material. The contemporary tracks from 1990 sound really out of place. I remember the mindset of the day, and many of the musicians didn't see themselves anywhere near "retirement", and felt their latest material was just as good as their earlier work. But truth is it sounds more like Joe Satriani than the prog rock theme the album projects.

I also didn't discuss the single 'Mercenary' in depth, but I like it from an historical perspective. It's true what the liner notes say, that Spada does sound somewhat like John Wetton. So, yes, one can't escape a certain Asia influence here. One with a true progressive rock mid-song break. The flip side is a slightly shorter version of one of the album tracks. Today this single is very rare. The liners say that 500 were pressed. If true, it would appear very few actually sold, or found there way into collections. As of today, only three claim ownership on Discogs. These numbers don't mesh.

Ownership: 1991 Art Sublime (CD). Housed in an LP gatefold jacket. Liner notes in the gatefold. Insert about the label and packaging concept.

7//91 (acquired); 11/6/16 (review); 12/18/25 (update)

Also own and need to review Breaking the Silence.

11/6/16 (new entry)

Outskirts of Infinity - The Altar of the Elements. 1993 England

Once upon a time there was a project from England called Bevis Frond, led by a guitarist named Nick Salomon. They were a band who mixed 60s Hendrix psychedelia with 80s indie rock... to great popular success, and are still around today. During this same historical time and place, there was also a guitarist named Bari Watts, a former member of the aforementioned Bevis Frond, who led a project called Outskirts of Infinity. They were a band who mixed 60s Hendrix psychedelia with... 60's psychedelia... To little popular success, and are long gone. The latter, perhaps predictably, are more to my personal tastes. OK, I think we're done here. Any questions?

Oh, we do have a question! What's that? Frank... Frank Marino? Do I hear...? Yes, yes, I do hear Frank Marino too! Alright, goodnight everyone.

Personal collection

LP: 1993 Dark Skies

The CD features a 15+ minute track called 'Infinite Madness', which I haven't heard.

Los Jaivas (El Volantin). 1971 Chile

I can now see why Pinochet's dictatorship was scared of this group (which resulted in their ultimate expulsion). This is a long way from the measured progressive rock of Alturas de Machu Picchu that would arrive a decade later. El Volantin is what I would call freak rock, maybe along the lines of Denmark's Furekåben commune, or perhaps even the political wing of Amon Duul. Most of the material is tribal drumming, (de)tuned percussion, acoustic guitar strumming, piano, with male and female vocals chanted or screamed on top, and not the best recording either. There’s also some pan flute so you don’t forget that this is indeed a band of the Andes. The last track is really something great – with wild fuzz guitar and frantic vocals. The whole thing is a complete mess… had it come out today I wouldn't be impressed at all (fake counterculture doesn't work for me). But for the time and place (1971 Chile), this just reeks of the real subversive underground. You can just feel it. This is a serious work of civil protest. Awesome really.

Ownership: LP: 2005 Shadoks. Single sleeve. Numbered copy 125 (out of 350). 

Originals are extremely rare and come with a poster. According to one ebay auction: "The group released El Volantin privately. The music on this album was almost completely derived from improvisations, and can be considered as a performance of a "happening". It was pretty wild and free. From 20 hours of work only 40 minutes were used for publication. There were only 500 albums printed, and were sold at their gigs and in some "friend´s record stores"".

11/5/16 (review/new entry)

Totem - III: Corrupcion. 1973 Uruguay

The 3rd album from Totem is quite a sophisticated album for the time and place. Uruguay in 1973, like other Southern Cone countries, were in the midst of creative-crushing dictatorships. Interesting then, that the sound of Totem mirrors that of Flamengo in Czechoslovakia. These are bands that seemingly inherited traits of obscure UK bands such as Tonton Macoute and Raw Material, and infused those with indigenous elements, to make for an historically superb album. Of course, it's highly unlikely that Totem would even be aware of obscure albums on the Neon and Transatlantic labels, but rather they drew a similar musical conclusion, based on psychedelic, jazz, hard rock, and bossa nova to create their own recipe of progressive rock. Totem mixes long form jazz with funky rhythms, song based romantic ballads, complex sax and flute driven prog, and Latin Rock with biting psychedelic fuzz guitar, for a truly compelling mix. The best track is saved for last - the moody and lengthy 'Caspita'. I'd place Totem comfortably in the collection near fellow countrymen Psiglo, Som Imaginario (Brazil), and Los Baroccos (Argentina). Don't miss this one.

Ownership: CD: 1998 Posdata. Jewel case. Simple booklet with recording details. Features two bonus tracks, one 'Mi Pueblo' taken from a 1972 single, and the other 'Orejas', performed by Mario "Chicito" Cabral, originally released on the album La Tocata. Part of the 30 years of Uruguayan Music series.

The original LP, the reissue LP, and the one cassette are quite rare. Even this CD is getting expensive.

2006 (first listen); 11/5/16 (review / new entry); 7/12/24 

Think - Variety. 1973 Germany

Variety is a good title for this album. Not in the macro sense of the term, but rather within the tight confines that Think occupied. And that would be early 1970s Germany. There's a bit of that UK hard rock underground, as you would hear on a Nosferatu album for example. And then there's some of that stoned 1971 Krautrock sound, perhaps best exemplified on Virus' Revelation album. And going further, you can hear that patented unpolished progressive rock / Krautrock hybrid - like you might hear on the Erlkoenig album. So yes, this is definitely for fans who are digging deep into the Fatherland's copious mines. Not a good album for "album scanners" and "file collectors". It's definitely not an immediately likable work, but if you have absorbed the proper context, this album will reveal its strengths.

Ownership: CD: 2002 Garden of Delights. Jewel case with fat booklet including a full history as is typical of the label. Comes with two lengthy live tracks from 1972. 

The above replaced the LP reissue on Little Wing (which had a different cover, per their ill-advised protocol). It's from the CD that we learn that the Little Wing LP was actually unauthorized. Not the label's fault (completely legitimate enterprise), but rather the unscrupulous dealings from the person who possessed (not owned) the master tapes. Apparently the same person then entered into a legal agreement with the members of the band and properly licensed the rights to Garden of Delights, and further with Amber Soundroom on their LP reissue. Original LPs on Menga are very rare and expensive. The cover features that all-important BBB styled cover: Bare Breasted Babes.

2000 (first listen); 2006; 11/4/16 (review / new entry); 9/7/23