El Templo del Dinero ~ Mexico

El Templo del Dinero (1999)

As I've written about in the past, Smogless was a Mexican label in the late 90s something akin to the Kosmische Kouriers or Prescription Drug (UK), with a blend of bands celebrating the psychedelic underground. El Templo del Dinero was but one of these ensembles, likely collected for this recording rather than as a touring concern. The participants are an unusual lot for a recording such as this. Guitarist Victor Mendez had played in a couple of oddball bands from the early 90s - one was the unhinged Zeuhl group Vector Escoplo and the other was the arty Subsuelo. Neither very good to be honest. Drummer Victor Baldovinos comes from the decidedly symphonic group Iconoclasta. Newcomer bassist Alfredo Landa fills out the trio.

Based on this lineup, one wouldn't normally expect an homage to early Guru Guru and Sensations Fix, but more or less that's what we're dealing with here. Instrumental psychedelic space rock is the order of the day. The sound is raw and very much a product of the deep underground. El Templo del Dinero were hardly alone doing this kind of music in Mexico at this time, and one will hear similarities to Humus, Loch Ness, and Frolic Froth. The guitars are wonderfully compressed and super fuzzed out, and the rhythm section moves around constantly. Sometimes in sync, sometimes not - which is part of the allure. But it's definitely a competent work by experienced musicians. I've seen references to this being a jazz fusion type album, but I cannot hear it myself. No more than Guru Guru's UFO being considered such. Another reference would be the obscure Chicago based band Matter.

El Templo del Dinero is another one of those CDs I bought real time, enjoyed, and filed. Here we are 19 years later on a revisit, and I had very little music memory of it - only that it was in the Humus vein. I can understand this album being a bit too raw for some, but it's not in the wear-you-out genre like the Japanese groups such as Acid Mothers Temple can be. I enjoyed it myself, and hopefully will hear it again sooner than 19 years. Hopefully I can still hear at all by then.

Ownership: 1999 Smogless (CD). With art booklet. Acquired in 1999.

1999; 6/7/17; 3/23/18 (review / new entry); 1/30/24

Curt Cress Clan - CCC. 1975 Germany

Curt Cress Clan had one album released smack dab in the middle of the funky fusion era, and this album falls right in lockstep with expectation. Starts with a barnburner in 'Cyclone', and 'Fields' is wonderfully moody. 'Movin Right Along' also kicks a fair amount of booty. Despite the somewhat trite composition style, all is not lost, as it contains exceptional performances from Volker Kriegel (who obtains a wonderful fuzz guitar tone throughout); Kristian Schultze on keyboards (and yet again the fat analog synth tones are great here); and of course Cress himself on the drum kit, who gets in a few great patterns. One to buy if a fan of Kraut Fusion.

Ownership: LP: 1975 Atlantic. Single sleeve. Online acquisition (2014).

Former ownership: CD: 2010 Sireena. Digipak with liner notes in German and English. 

2009; 7/29/11; 2/18/18 (new entry)

2009; 2011; 2/18/18 (new entry); 7/4/22 

Schnauser ~ England

Protein for Everyone (2014)

My big fear coming into Protein for Everyone, my first encounter with Schnauser, is that there would be traces of indie / alternative music. Not that I read this anywhere, but instinctively the younger bands have it in their DNA due to constant exposure, different than my own generation. I can't stand that music myself. The monotone sound and nihilistic outlook goes against my very optimistic and creative nature. Give me a pissed off metal band any day - at least they care enough to be mad!

So with that out of the way - Schnauser have succeeded entirely on not dragging that element into their sound. Hooray! This is square-on psychedelic era Canterbury music, of the kind that didn't get past 1971. The soft affected vocals, the period instrumentation (especially the keyboards and fuzz bass), and the melodies are all extremely well done. It doesn't quite have the depth of the masters, and one does begin to think that if Stereolab had emulated Soft Machine or Caravan, rather than French 60s pop and Neu!, this would have been the result. That would have been great actually, now that I think about it.

The first four tracks are the highlight, and it begins to slowly break down from there. On first glance, 'Disposable Outcomes' appears this will be Schnauser's 'Nine Feet Underground' or 'Esther's Nose Job'. Alas it isn't, primarily because the band opted out of giving us some fuzz keyboard jam moments, and instead offers some weird story. That's really too bad, because there are moments throughout where I thought this would be a 5 star masterpiece. So in the end, it lived up to its title. On that note, this is one of the very few albums where a Gnosis 11 could be considered a disappointment. All the ingredients are here (they go so far as to define the band makeup in the CD literally as ingredients!) and they succeed, but I feel they did not transcend the genre, when you instinctively know they have the ability to do so. Still - this is a must own if you enjoy the early Canterbury movement.

Ownership: 2014 Esoteric Antenna (CD). Acquired in 2018.

2/18/18 (review / new entry)

Leviathan - The Legendary Lost Elektra Album. 1969 England (archival)

Leviathan were an English band from the late 60s with quite a backstory and a decidedly sad ending. Rechristened from the more mod sounding Mike Stuart Span, Leviathan were like many bands of the era, who were moving from catchy pop oriented singles into more heady album material. Oddly the band's demise appears to have come from a confusing promotion wherein Elektra decided to issue 2 singles at once, and both failed to chart. The first two tracks on this album represent the better of the singles, and demonstrates why Leviathan should have been a force on the psychedelic / upcoming progressive rock scene. Fantastic guitar leads, psychedelic infused vocals, and solid melodies are the name of the game with Leviathan. The other single contained 'The War Machine' and 'Time', and were both a bit dated for the cutting edge 1969 mindset, though still quite good. My pick for the best track is 'Through the Looking Glass', which is that rare breed of true "psych prog" as one might hear on the Pussy Plays album for example.

In any event, the album was pulled by the label president, for reasons that are still not clearly understood. It is suggested that the band still needed to improve on the album, but funding was going to have to come from within if the album wanted to see the light of day. This of course was not possible, and the band disintegrated on the spot. As noted by the title, the album indeed had gained legendary status via the record buying community going back to the 1980s. It took almost 50 years in total, but finally we can all hear this most promising group. It's bitter sweet though, as we'll never know the what-if scenario.

Personal collection
CD: 2016 Grapefruit / Cherrry Red

Namaz - 300 M.P.H. 1981 Germany

For Namaz's debut, try to imagine Embryo circa Bad Heads and Bad Cats, or the Real Ax Band - but carrying on into 1981. Tropical and breezy Kraut styled fusion with sultry female vocals are the order of the day here. Final track 'Cyklus III' goes into freaky Santana guitar mode to close in excellent fashion. A fine album for fans of the genre.

Personal collection
CD: 2008 Creole Stream (Japan)

Mystere de Notre Dame. 1996 Italy

Mystere de Notre Dame were like many bands of the mid 90s, and definitely engaged in a bit of Dream Theater worship. The chops weren't quite there, and the professionalism was B grade, but no doubt competent all the same. For the first 3 tracks, you will admire Mystere de Notre Dame, but a bit of deja-vu will come about soon enough, Then comes 'Dominus', and it's still Dream Theater - as found in the Twilight Zone. It's not on-purpose attention grabbing either, but rather a tad off-center. In this way Mystere de Notre Dame reminds me of those nutty German bands of the same era like Payne's Gray and Cant. It's as if the band knew they were sleepwalking, and needed to do something else - but weren't quite sure what to do. Was it their Italian heritage? Perhaps Semiramis was on their mind... By no means is this radical in the same way as fellow countrymen Garden Wall are, it's just...different. The album has received relatively low marks across the board on both RYM and Gnosis, and I figure it's because of the typical Dream Theater association, and the first 3 tracks don't help. But a deeper dive reveals something more. I wondered why I kept this CD all these years, and now I know. And I will continue to do so.

Ownership: CD: 1996 Music is Intelligence. Jewel case. Purchased new online upon release.

Yves Laferrière - s/t. 1978 Canada

If viewing this record for the first time, one could be forgiven for marrying the album cover with the 1978 date, and coming to the conclusion this is yet another period fusion album. But that's not the case at all. Yves Laferrière was one of the primary songwriters on both of the Contraction albums, and on his one solo album, he has successfully recreated the past. This sounds every bit like an early 70s Quebecois progressive rock work, and could easily be considered the 3rd Contraction album. The same style of songwriting and the beautiful female vocals are just 2 of the components that make this comparison obvious. All the songs are relatively compact (save the more lengthy and raucous closer), and there are no obvious standout moments - and yet each and every track fits "just so". If you're a fan of Contraction, you'll want this.

Personal collection

CD: 2006 ProgQuebec

Solis Lacus ~ Belgium

Solis Lacus (1975)

Solis Lacus' sole album is a mix of deep grooves and sweet melodies, which is the blueprint for the mid 70's instrumental jazz rock scene. One could easily see Solis Lacus operating as the 4th Placebo album. Though by 1975, some of the rougher edges have been smoothed over, and it's not ever going to win any underground awards. But it definitely serves well for 70's styled "gettin' in the mood" with plush coaches, wood paneled walls, and shag carpet. Trumpet and saxophone lead the solo parade, while band leader Michel Herr provides the Fender Rhodes and monophonic synthesizers. This is the right music for the right time.

The LP was surprisingly reissued twice in the late 70s and early 80s by different labels.

Ownership: 2012 Heavenly Sweetness (CD). Tri-fold digipak with photos. Includes a booklet with liner notes in English and French with more photos. And further on, as the band members each reflect back on the album, the notes this time are in French and Flemish. Acquired in 2018.

4/22/05; 2009; 1/6/18 (review); 9/24/26

1/6/18 (new entry)

Sideline ~ Germany

Sidesteps (1979)

The music on Sideline is a bit edgier and more melodic than your standard late 70s/early 80's breezy Kraut Fusion album. And it sounds like it was recorded a few years earlier when jazz musicians were still exploring the exciting possibilities of rock. Violin, as would be expected from a leader, is the dominant instrument (though the music is all composed by guitarist Hugo Vogel). Sometimes electric violin can be too flashy (Jean-Luc Ponty) or too hoedown like the Appalachian Americana influenced bands. Here the sound, style, and playing by Koehler is just perfect. If I had a preference though, I would have preferred the guitarist to go beyond the electric jazz tone here. If only he'd let 'er rip psychedelic style (as the violin will on occasion), then this album would've jumped a full two Gnosis points.

Former ownership: 1979 JA Records (LP). Acquired in 2013.

No legit reissues exist as I update this post (1/5/18).

9/28/13 (first listen); 1/5/18 (review / new entry)

Third Eye ~ Netherlands ~ Germany

Third Eye (1976)

On the surface, Third Eye would seem to be a typical mid to late 1970s kraut fusion album, of which there are dozens. That is, until you hear the mellotron being played like a flutist would play his solo (just check out 'Sound Circle' as an example)! It's really odd to hear this traditional symphonic prog / electronik musik instrument used in this context. As if Tangerine Dream, circa Phaedra, played the piano lounge at some swanky hotel. For this alone, Third Eye is worth seeking out. There's also a classically inspired romantic piece, cocktail piano, a drum solo, typical fusion runs. A somewhat bizarre mix, but quite good all the same.

Former ownership: 1976 Ring (LP). Acquired in 2009.

No legit reissues exist as I update this post (4/7/26).

7/22/09 (review); 1/5/18 (new entry)

Alcatraz ~ Germany

Live: Trockeneis zum Frühstück (1980)

Alcatraz were always an interesting lot, never staying in one musical place too long. By the time of this live album, the band had released a Krautrock classic (Vampire State Building) and a politrock album. So naturally this is a jazz fusion work... All new material, it is in effect a brand new studio release and the recording is stellar. Perhaps most extraordinary is how adept Alcatraz are at the style. Though it must be said that Vampire State Building had jazz qualities, it was nowhere near this obvious. There are two standout leads here: Rainier Hansen on sax and flute - and steady member Klaus Holst on guitar. Hansen, in general, has a very pleasing tone concerning his saxophone with a bit of the psychedelic similar to Xhol Caravan would deploy on occasion. At times he gets a little too loose, but pulls back just at the moment of annoyance. His flute playing is exemplary throughout. Best of all though is Holst, who apparently was completely unaware of any musical trends since 1971. You will have to look long and hard in 1980 for the kind of fiery psychedelic leads he lays down. It's really extraordinary, and reminds me of the second Moira album concerning the out-of-its-time sound. In fact, you'd be hard pressed to find a modern retro band that "gets it" like Holst does here. The songs are all well written and melodic and not just exercises in solo jamming. The latter enhances the former that is to say.

The cover itself is telling. While the band is sitting in the kitchen enjoying a meal of ice (?), there are albums perched up against the wall. Among them include Soft Machine Third, Bitches Brew, and Hendrix's Axis' Bold as Love. And there you have it.

Ownership: 1980 private (LP)

No legit reissues exist as I update this post (2/22/25)

2001 (first listen); 1/4/18 (review)

1/4/18 (new entry)

Andreas Aarflot ~ Sweden

Det Rivna Pianot (1978)

Andreas Aarflot's sole album is like a direct cross between National Health and Quebec's Contraction. Though the female vocals are in Swedish, the delivery is similar to Contraction's French. Meanwhile the music maintains a strong Canterbury structure, including some familiar melody lines. On Det Rivna Pianot you'll encounter a classical component (pipe organ, strings), sweet female vocals sung in Swedish, and wonderful flute solos. The album breaks down a bit on side 2, before gathering itself on the finale. Aarflot appeared to be quite the talent, and yet he pretty much disappeared without a trace after this. Too bad, as his one album is excellent.

Ownership: 1978 Manifest (LP). 

No legit reissues exist as I update this post (2/22/25) 

6/16/10 (review); 1/1/18 (new entry)

The Freeborne ~ USA ~ Boston, Massachusetts

Peak Impressions (1968)

---2004

Pretty forward sounding psych given the 1968 release date. Varied and deeper than most. Groups like Strawberry Alarm Clock were here but more immersed in pop. The Beatles of course dabbled with these sounds as did the Doors. Maybe closer to some of the Vanguard bands of the day, like Listening or The Far Cry (who were both also from Boston). Lots of instrumentation (trumpet, sax, organ, piano, fuzz guitar, cello, harpsichord, recorder amongst the usual), many meter and style changes (freak out psych, early prog, jazz, sunshine pop, folk, baroque), loads of vocal effects. A truly innovative album. I'm on the 3rd listen and can't decide where I'm going with it.

---12/27/17

Boston's The Freeborne represents some of the finest songwriting of the 60s psychedelic movement. There's echoes of the Doors, but in general, The Freeborne were one of the more innovative of the groups of the day - all operating with the context of relatively short songs (final track on each side sees the band stretching out a bit). Fine guitar, organ, vocals - everything you want in a psych album, but rarely get.

You will often times see this album listed as from 1967. However the CD corrects the record so to speak. There are multiple references and proof of a 1968 release. For example: "Notes on the master tape box imply that the mixing and editing of the album occurred on March 27, 1968". Another reference is a half-page advertisement in the July 1968 "New England Scene" magazine that blares out that Peak Impressions is "Just Released !!"

Ownership: 2014 Arf! Arf! (CD). Booklet filled with historical liners, mono bonus cuts, as well as three reunion tracks. Acquired in 2017.

First copy: Distortions (CD). Nice reissue but the Arf! Arf! is better. Acquired in 2004.

2004 (review); 12/27/17 (update); 11/5/25

Earthen Vessel ~ USA ~ Michigan

Hard Rock Everlasting Life (1971)

Earthen Vessel were a band from Lansing, Michigan who got caught up in the "Jesus Rock" movement. Whereas 95% of the bands operating in that territory are pretty wimpy, Earthen Vessel cranks up the amps and the guitars just wail on here. One of those albums that fall between hard rock and heavy psych, the first 25 minutes of this album just blazes throughout. Only the final short 'Get High' (On Jesus) will remind one of a typical church youth group hymn. And these guys aren't "sort of Christian" either, they're preaching the Gospel from the mountaintops, with dual female / male vocals all through. And yet it doesn't distract in the slightest, unless you have religious issues. Easy recommendation to fans of the aforementioned genres.

Ownership: 1999 Gear Fab (CD). Booklet with historical liner notes written by one of the members of the band. Acquired in 2017.

12/20/17 (review) 

12/27/17 (new entry)

Snakes Alive ~ Australia

Snakes Alive (1975)

Snakes Alive were a group that I discovered in my early CDRWL research days. There was much question of its authenticity at the time, especially given the obvious photoshop cover. But it was real, a demo pressing from a circle of Australian musicians who had access to a recording studio and took advantage of it.

---2008

In the early 70s, the music world was teeming with jazz fusion / jazz rock bands. The major two schools were a) The technically proficient, as defined by the Mahavishnu Orchestra, Return to Forever, and Weather Report. And b) The Miles Davis long track deep groove, with many followers in Germany (in particular the MPS label), Poland, Italy, USA, and beyond. These were jazzers who were fascinated with rock's rhythms and power. But finding rockers who were fascinated by jazz was a much more rare breed. Snakes Alive are a rock fusion band. Of course bands like Mahavishnu still come to mind. Even early Zappa and Xhol Caravan to be honest. But, you know, Finch came to mind too. There are vocals, but they are sparse. Trumpet, sax, flute, organ, and guitar are the solo instruments. And it rocks with a capital R. This is a good one, that's now receiving its just notoriety.

---12/24/17

Originals are extremely obscure and was only a demo pressed in a quantity of 50 without a cover. A cover therefore has been appended in modern times (via the Poor House Record shop and subsequent bootleg), and this is what this CD issue used as well.

Ownership: 2017 Belle Antique (CD). Papersleeve. This is the first readily available copy to market. Acquired in 2017.

2008 (review); 12/24/17 (update); 7/10/26

12/26/17 (new entry)

Yajuh Ohkoku ~ Japan

Live (1997) 

Yajyu Ohkoku - often times stylized as Yajuh-Ohkoku, in kanji 野獣王国, literally translates to Beast Kingdom, or colloquially Animal Kingdom - are a hard hitting fusion band from Japan. Unusual in that they debuted with a 2 CD live set. So this is nearly 100 minutes of instrumental jazz fusion, which is a monthly dose for moi. The style is 1990s digital all the way, so for those looking for 1970's raw wah wah guitars, fuzzed out Rhodes, or Hammond organ, you'll have to look elsewhere. This is Yahama land and pig squeal guitar. Still, for what they set out to accomplish, Yajyu Ohkoku does an admirable job at doing such. If you're a fan of the Japanese fusion scene of Side Steps, Prism, Fragile, and Exhivision, then "Beast Kingdom" is well worth seeking out. The band continued on to release six more studio albums, each more obscure than the last.

Ownership: 2013 Clinck (CD). Double mini-LP gatefold. Part of a four title box set called J-Fusion Masterpiece Collectors' Box that includes the two Keep albums + the Hiroshi Mirukami & Dancing Sphinx album. I bought it for the Keep albums, and like the name itself, I'm keeping all of these for those two.

12/25/17 (review)

12/26/17 (new entry)

Joe O'Donnell ~ Ireland

Gaodhal's Vision (1977)

Joe O'Donnell's debut is a much unheralded album, but it's quite good. All instrumental fusion driven by O'Donnell's electric violin. There are smokin' parts offset by what could be best described as cinematic atmospheric pieces. Best tracks for my tastes include 'The Exodus', 'The Battle and Retreat Underground', 'The Fair', and 'The Great Banqueting Hall'. One of Ireland's best albums.

Ownership: 1977 Polydor (Ireland / Germany). Gatefold. Acquired in 1988.

1988; 1996; 6/6/14; 12/7/17 (review)

12/10/17 (new entry)

Melody ~ France

Yesterlife (1977)

Don't overlook this one! Or rather - don't judge a book by its cover. Given the 1977 date, the band decided on - or were forced - to use the rather atrocious looking Earth & Fire styled disco album cover. But in the end, Yesterlife is a far more professional album than their debut Come Fly With Me, in both composition and production. There's a high level of sophistication beneath the gloss. In fact some of the songs are re-recordings of tracks from said debut. Sure it's mitigated somewhat by the ambition of its producers, but the end result predicted the best aspects of the upcoming neo prog movement. Recently I visited the superb Edge - Suction 8 album from my collection, and Yesterlife recalls that fine album many times over. Woody bass, complex rhythms, loud fuzzy guitar leads, Mini-Moog lines, and powerful female vocals.

Unbelievably - for those that already know the Tapioca mispress of Come Fly With Me - which contains half of the avant-garde Mahogany Brain album, would you believe that Vogue switched the first two tracks on this album? Yea, 'Welcome to Wonderland' is the opening track. Jeez, these guys got the same breaks as those trying to leave Gilligan's Island...

The older tracks that have been re-recorded include: 'Merry-Go-Round', 'Run Faster', and 'Yesterlife'.

Ownership: 1977 Vogue (LP). Gatefold. Acquired in 1990.

1990; 12/10/17 (review)

Come Fly With Me (1976)

In short, Melody are a symphonic rock band with female vocals. The sound of Come Fly With Me seems more from the early 1970s, and wouldn't be out of place with albums by Mad Curry or Earth & Fire for example. There's also a psychedelic space rock undertone present throughout, that perhaps explains why one gets the feeling the album was recorded from five years earlier. Unfortunately the recording sounds like an unprofessional demo, and is fairly sludgy overall. Hopefully the masters still exist, and the sound can be brought out to its fullest! Musically the album is very interesting, especially if someone can possibly scrub away the grime.

It's also worth pointing out that most, if not all, of the Tapioca presses (the inheritors of the Pole label) of Come Fly With Me feature one half of the Melody album combined with one half of Mahogany Brain's Smooth Sick Lights, which is an avant-garde noise fest and is a completely different style to Melody. This version was my introduction to the band which left me confused about Melody for years. Fortunately I now own the Pole version on LP.

Ownership: 1976 Pole (LP) Acquired in 2014.

First copy: 1978 Tapioca (LP). Acquired in 1988.

1988; 3/8/14 (review)

Neither have been reissued as of 8/7/26.

12/10/17 (new entry)

Quiet Sun ~ England

Mainstream (1975)

Quiet Sun's sole album is about as good as it gets when melding the tuneful Canterbury style with that of a ferocious jazz rock band. Love those thick fat analog fuzz tones throughout! The title seems to come from the rejection of the album by multiple record companies who were more interested in obtaining a hit record. Though it appears the A&R gentleman from Warner Bros quite liked the sound and was at least interesting in hearing them live. Island, on the other hand, trashed the sound so. And that's the label it ended up on, so go figure.

Ownership: 1975 Antilles (LP). Acquired in 1993. Reacquired in 2026.

Previously owned: 2008 Arcangelo (CD). Papersleeve.

1993; 12/10/17 (review); 11/4/25

Relayer ~ USA ~ Houston, Texas

The Relayer Album (1979)

Relayer were a band from Houston, who managed to release one album before disappearing into the mists of time. With a name like Relayer and a colorful rainbow fantasy cover, one can expect 'Gates of Delirium Part Deux' eh Oui? Non. Because they are from my home state of Texas, this private press wasn't too obscure up north here in DFW and I first heard this album some 25 years ago and quickly dismissed it as rubbish. During that time, I've gained an entirely new appreciation for the private press American music landscape of the 1970s that I've documented to death here on these very pages. And Relayer fits smack dab in the middle of that sound.

The album itself is interesting, because it almost plays like an archival CD issue, verse a real time released LP. And that's because they front loaded all the progressive rock tracks on Side 1. So the first side rounds up the usual suspects like Yes and ELP, with a hint of Styx's Grand Illusion, for a very satisfying listen. Side 2 treads in commercial waters, more towards Styx's Pieces of Eight, with a bit of loungy fusion to boot. Overall, I'd weight it 55% AOR and 45% prog rock, so for those who have no tolerance for late 70s American FM radio rock, I'd steer clear. This is a very good album for the style, and one that I'm glad to have bought for the collection.

Ownership: 1979 Hamilton Street (LP)

10/26/17 (review / new entry)