Threshold - Subsurface. 2004 England

Subsurface is the 7th studio album from the English prog metal band Threshold. This is a band I've heard about for 25+ years, but inexplicably never heard a note of their output until today. Ostensibly a Dream Theater styled prog metal, Threshold manages to separate themselves from the pack rather nicely. Instead of a million-notes-a-second, Threshold restrains the impulse to do so, and rather puts that energy into songwriting instead. There are times the band falls into all-too familiar tropes, and during the chorus sections, I find myself asking them to put a sock in it. But otherwise there's quite a bit of thought within these compositions. 'Ground Control' is the winner of the bunch, and I heard snippets ranging from Voivod to... early 80s UK synth pop! All within the familiar confines of a progressive metal song. 'Opium' has some slight Supertramp references. And so it goes. Subsurface is a fine entry into the there-are-just-too-many-prog-metal-bands genre. I found subsequent listens more enjoyable than the last, always a hallmark of an excellent album.

Ownership: CD: 2012 Nuclear Blast. Recent acquisition from an online retailer. This version contains one new bonus track and 2 live renditions.

1/18/19 (first listen / review / new entry)

Eiliff ~ Germany

Eiliff (1971)

Eiliff's debut is one of the gems of the Krautrock underground. Seems that in 1971, at least one brilliant album a week was released in Germany. Even with such competition within the country, perhaps only Ash Ra Tempel and Embryo managed to do better in this most landmark year. What separates Eiliff from most of their competition is their musical background, namely jazz rather than rock. As we talk about in the Kraut Fusion (1970s /early 80s) list, Germany had an abundance of underground rockers who turned to jazz. Eiliff was about a year ahead of the pack, and they did it the other way: Jazzers playing Krautrock. If looking for a guidepost, they were closer in spirit to Xhol Caravan than Wolfgang Dauner.

'Bird-Night of the Seventh Day' is the most traditional progressive rock oriented track here, clearly taking their cues from early King Crimson, but with the delicious atmosphere that only comes from Germany at this time, and it's delivered on the very first notes. 'Gammkelloni' is a hot fusion number, but also represents the album's sole flaw - the sax is just too skronky to appreciate. It's a pity, as the guitarist (the brilliant Persian Houschäng Nejadépour) is on fire here. 'Uzzek of Rigel IV' enters into instrumental Italian prog rock territory for its first 3 minutes, with herky jerky metrics, before it goes into slow burn mode for the remainder.

At this point, Eiliff's debut is excellent, but certainly more in line with the high expectations that are set for the time and place.

Then comes 'Suite'. I don't think it's an exaggeration for me to say that this 21 minute opus is a high water mark of my collection. If not the single best long form track, it is in the discussion. From the very first note you know you're in for something special. If you're not drawn in by the 3rd minute (and already two or three killer moments have happened), then either a) you're not paying attention or b) we probably don't have much in common musically speaking. Because this is exactly the kind of music that puts me in a trance like state, exciting my mind in multiple ways. That driving organ, and then the huge electric sax chords, just evokes images of a strobe lit club with psychedelic screens, dancing girls, and the world flashing by in snippets of images. What's absolutely phenomenal about the entire piece, is that it never stops changing. There's at least one peak moment a minute. Yea, that's right, something like 20 peak moments - in one track! Most bands are lucky to get one or two of those in a career, not one-a-minute. One other incredible moment: There's a sitar piece that slows things down a bit, until Nejadépour of course goes wild on the instrument, this is then followed by a few second drum beat. Then... a thunderstorm of Hammond organ. Literally. I don't think I've heard the instrument so thick and wedgy as in this moment. It's breathtaking just writing about this opus, much less when listening to it. Even Thirsty Moon's most stunning 'Yellow Sunshine' doesn't quite measure up. Masterpiece if there ever was one.

On a personal note, I grabbed this at the Austin Record Show way back in the day. This convention, one of the largest in the world, was a giant magnet for folks like me. I was drawn to it like a moth to light. And the fact that Austin was only three hours drive from where I lived at the time in the Dallas area, made it a mandatory twice a year pilgrimage. The gentleman I bought it from was someone who turned me onto to a number of great albums back then. The album was expensive for its time (something like $20 - yes, true, the appreciation of value has been enormous). Back then you could still get bargains (shoot many times you could find rarities for $1 or $2). Anyway this guy - who was a spitting image of Conny Veit - always had pretty ladies hanging around him even at these shows. Who was he? Well, he later moved to Seattle and went by Dusty Lee, most famous for the Ventricle label and all the subsequent acts he created (commonly with female vocals and mellotron).

Ownership: 1971 Philips (LP). Gatefold. Acquired in 1990.

1994 SPM / World Wide (CD). Acquired in 1995.

1990; 1995; 1/11/19 (review)

Girlrls! (1972)

Eiliff can do no wrong as far as I'm concerned. There's a certain sound I love about Krautrock, and in Eiliff I hear everything that I could possibly want. Chunky, riffy Hammond Organ; fuzzed out Rhodes; loud electric acid guitar; jazzy rhythms; vocals that are bonkers; tripped out saxophone; fuzzy bass; alien atmosphere. Their debut is even better, and yet I couldn't possibly rate this second album any less than a Masterpiece.

Ownership:

2015 Long Hair (LP). Two bonus tracks from a single.Insert with historical liner notes.

1994 SPM / World Wide (CD). Acquired in 1995.

First copy: 1972 Philips (LP). Acquired in 1992. It wasn't in the best condition (G+ to VG), but now I wish I'd held onto it. One of the very few originals I haven't been successful in reobtaining. I'll get it eventually.

1992; 1995; 5/28/12 (review); 1/9/22

Close Encounter With Their Third One (1972)

Despite the title, this really isn't a "third" album, but rather a live concert from October 18, 1972 in Koln (Cologne). The majority of the disc is taken from their second and last album Girlrls! There is one new five minute composition entitled 'Lilybaeum' which is a quite nice atmospheric piece. The highlight of the album is Houschang Nejadepour's frenetic solo on 'Hallimasch'.

This is one of many great archival finds from Garden of Delights. They also later released a second live album from Eiliff entitled Bremen 1972.

1999 Garden of Delights (CD). Booklet with full historical liner notes. Acquired in 2000.

2000; 1/29/10 (review)

1/29/10 (new entry)

Rose - A Taste of Neptune. 1977 Canada

Rose were a band from Barrie, Ontario who managed a 4 album run, including the last two on major label Polydor. And it's easy to see why they were signed up, as 'Ride Away' is the perfect hook laden hard rockin' opener. 'Snakes and Ladders' begins to erode their sound though, as the late 70's styled chorus' were cliched back then, much less today. Still, one cannot ignore the fantastic instrumental work, especially between the guitar and organ. As for the next track, I'm sure the band said to the label "How about we put the lengthy title track here?". "No, no. Label rules state that a lame ballad must go in slot A3". And so it was done. Even here though, a fine guitar solo near the end saves it from the dire straits it was clearly in. And so the album goes between hard rock, AOR, and progressive styled mid sections... basically a Crystal Ball-era Styx combined with the instrumental backdrop of Boston. 'Bangin' My Head Against the Wall' performs an excellent hard rock jam towards the end of the tune. The final track promises an epic length progressive rock extravaganza, but unfortunately it's more of the same, and disappointment ensues. A good album on the whole, one that would have been for certain welcome on the radio in 1977. But it wasn't to be, and Rose was tossed into the trash heap with countless others, remembered fondly by a loyal few. At least they got a fair shot and went for it.

This one did manage one legit CD release from Si-Wan in Korea during the 90s. As you can imagine, given the scarcity of that product these days, it's become expensive.

Orchid - The Mouths of Madness. 2013 USA

There's a lot to admire about the San Francisco based group Orchid. Unlike many modern bands, Orchid took the time to absorb the influences of Black Sabbath rather than just the output, so the possibilities of sound are much greater than what we usually receive. In effect, they are more of a "70's Metal" band, bordering hard rock, prog, psych, and blues rather than generic Stoner or Doom metal. The band are clearly talented, and Theo Mindell emulates a good Ozzy, not plagiarized, but rather influenced by.

The trouble is (no pun intended) that Orchid doesn't do anything with the premise. There are no songs here, no melodies of consequence, no creative breaks, and almost nothing sticks. The long tracks could be half the length, and one would not notice the difference. Sabbath aren't legends just because they were heavy, but rather they could pen a mean tune. Who doesn't get goosebumps on the first air raid sound of 'War Pigs'? There's none of that here. 'Silent One' offers a glimpse of what that could be and 'See You on the Other Side' demonstrates a band who can play within loose jazzy structures, but that's about it. Mind you, everything here is good, no question. But there's no more room in my collection for albums like this anymore. They played it too safe. Perhaps commercially it was the wise thing to do, but creatively it falls short of the mark. And that's where the legacy comes in.

Verto ~ France

Krig / Volubilis (1976)

Verto is the one man guitar / electronic pseudonym of Jean-Pierre Grasset with multiple guests (the group Potemkine primarily, but also Dague) that seems to be modeled directly after Richard Pinhas and Heldon. 'Krig' opens up in Zeuhl territory, but it doesn't take long for it to drift more into the arena of progressive electronic. The Potemkine influence looms largest in 'Locomo'. The long track namesake 'Volubilis' sounds like Archaia emulating Gottsching's Inventions for Electric Guitar. Deep subversive underground sounds here. Krig / Volubilis could be considered Verto's very own Electronique Guerilla. It's probably still on file in Valéry Giscard d'Estaing's government watch list.

Ownership: 1978 Tapioca (LP). Acquired in 1987.

1987; 1/11/19 (review)

Reel 19 36 (1978)

If Krig/Volubilis is Verto's Electronique Guerilla, then Reel 19 36 is their Interface except far more experimental than Heldon's great work, much to its detriment. There are two monster tracks on here, and a lot of noise. Would make for great bonus tracks on a Krig/Volubilis CD reissue if such thing were ever to occur.

Former ownership: 1978 Fleau (LP). Acquired in 1994.

1994; 7/27/09 (review)

No legit CD reissues for either as of 4/7/26.

1/11/19 (new entry)

Pop Workshop ~ Sweden

Song of the Pterodactyl (1974)

Pop Workshop were an all-star fusion band that included Janne Schaffer, Mads Vinding, Tony Williams, and Polish luminaries associated with a one Michal Urbaniak (and where two of these compositions will end up on his Fusion III album a year later). Strong overtones of Mahavishnu Orchestra era fusion and Herbie Hancock's Headhunters funk - with some Coltrane-ish sax. A nice mix of fusion / jazz / funk and not too far removed from another Swedish based international jazz rock ensemble: Ablution (minus the Santana influence perhaps). For those that like the early 70s jazz fusion sound, this album will most certainly be well received.

Ownership: 1974 Midnight Sun (LP). Like their debut, this album was pressed for the domestic market and for "export". Honestly I think the only difference is the label name is in English. No legit reissues exist as of 3/6/25.

1/11/19 (review)

Vol. 1 (1973)

On the same label (Grammofonverket) as the much recommended Ibis album, Pop Workshop are clearly a band operating in the raw jazz rock category (rather than fusion). Founded by two prominent Polish jazz members on keyboards and sax, Pop Workshop - over the course of both albums - features marquee name players such as guitarist Janne Schaffer, drummer Tony Williams, and bassist Mads Vinding. This is definitely music of the underground, and fans looking for slick fusion will have to look elsewhere. I would say Ablution - another international band based in Sweden - is probably the closest comparison here. Vol. 1 finishes particularly strong with 'Equivalent in Nature' and 'Perfect Touchdown', both tracks arguably the best on the album - and certainly the most heavy and (relatively) radical.

Ownership: 1973 Midnight Sun (LP). This version was made for "export". Guessing Grammofonverket wasn't a name grabbing English buyers. But it was only a label name after all. In any case, seems to have been a short lived experiment, and entirely unnecessary. Still no reissues exist as of this update (3/6/25)

7/5/14 (review); 9/14/18 (update)

9/14/18 (new entry)

Sky Dancer ~ USA ~ Nebraska

Alive (1977)

"Deep Purple on the Prairie" I read from one online auction. That's worth quoting and repeating for posterity. Sky Dancer only released just this one album, recorded live in front of an enthusiastic audience in Lincoln, Nebraska one fine evening in 1977. The album opens inauspiciously enough with the crowd pleasing straight-up rockin' 'Rock and Roll Sweetheart'. But even here the guitarist begins to light things up. Once you hear 'Get Down' you know the band has serious chops and a lot of ideas to process. You just don't get to hear this much chunky organ and jamming guitars this late in the 70s - especially from these shores. 'Fear No Evil' has one of the most intense superb second halves of any track I've heard in ages. 'Hang on To Your Life' and 'Hot Rocks' are similar. This is the kind of hard rock you constantly look for - and rarely find. And 'Never Want to Be Tied Down' is the kind of thoughtful melancholic closer I was hoping it would be. All five of these tracks are lengthy, and feature extensive soloing on guitar and Hammond. 'Rock and Roll Circus' is also a solid hard rocker, if not a bit normal for Sky Dancer. The only throwaway here is the mercifully short boogie rock of 'Goody Two Shoes' and even it features some nice guitar work. Essential hard rock here.

This album is screaming for an archival type reissue. One hopes they may have some studio material, or even more from this live set. Sky Dancer strikes me as the type of band who were more progressive than they were allowed to be in public. The perfect setup for front loading the monster tracks, and leaving the more ordinary tracks to wallow in "bonus track" territory. 

No legit reissues exist as of 4/28/26.

Ownership: 1977 All in One (LP). Acquired in 2022.

1/4/19 (review / new entry); 4/22/22 (update)

Avalon ~ Canada ~ Ottawa, Ontario

Voice of Life (1977)

Avalon were a band from Ottawa who managed to get out one very professional LP in 1977, and unfortunately that was to be it. 'Celebration Day' opens up in Equinox-era Styx territory and it appears we're in for that unique North American proggy AOR sound, often times pegged with the derogatory pomp tag. A fine opener that quickly gets one engaged. 'Mother Russia' is similar, but there's more of a prog edge here, and yea sure, we can point to early Starcastle if you wish. Fine with me. 'Lady of My Dreams' is the obligatory lame ballad, but at least there's a fine synthesizer solo. In fact regarding the latter, there are many great synthesizer moments to be had on Voice of Life. The title track and 'Land of Mordor' bring out the band's James Young identity, and we're on the heavy side of AOR. Great break/riffs here that require repeat-play. Then whoever was supervising the group fell asleep, because Avalon decided to just go prog rock with 'Smoke and Fire', perhaps the highlight of the album for moi. 'Shadowcaster' is not a one minute interlude, but rather a fully realized song and quite good at that! 'Maranatha' then blends all the elements of the disc so far into one delicious whole. There's a killer riff half way through that sounds so much better on albums like this - primarily because it isn't what is expected.

Avalon had the songs to be radio staples in their day but for whatever reason they were ignored by "those that controlled all". This isn't an album that's going to register with hardcore AOR, hard rock, or progressive rock fans. But if you like all 3 in one, then this album goes to the great column. And I would be one such person.

Ownership: 1995 Pacemaker (CD)

1/4/19 (acquired / review)

La Maschera di Cera - LuxAde. 2006 Italy

Hard working bassist Fabio Zuffanti has many bands (Finisterre, Hostsonaten, Aries, Zaal, etc…), and each one represents a certain sound that he likes to explore more in detail (his initial band Finisterre is the one that is truly eclectic). La Maschera di Cera is his vehicle dedicated to the early 1970s Italian progressive rock scene, with only vintage gear being deployed. Along with the usual keyboard (Hammond, Mellotron, Moog), fuzz bass and guitar sounds, there’s quite a bit of flute, an instrument that was predominantly featured in 70s Italian music. In the end, the group achieves what it sets out to do, though I’d say LMdC are not quite as complex of some of the finest bands of the 70s (Jumbo, Semiramis, Banco, RRR, etc..). LuxAde is their 3rd album, and is arguably one of their finest (as I update this in 2019). It's really hard to imagine being a fan of Italian prog and not walking away from LuxAde completely satisfied. The style has been well-studied and executed here by the band. There's a reason why I chose La Maschera di Cera as my primary group for the renaissance of Italian Progressive Rock list: Italian prog from 1987 and beyond.

Ownership: CD: 2006 Immaginifica. Acquired upon release from online retailer. The CD is stored in a fine gatefold mini-LP sleeve.

1/4/19 (new entry)

Champignons ~ Canada ~ Montreal, Quebec

Premiere Capsule (1972)

Champignons were a band from the Montreal area, and who released this one album that is now much sought after by progressive rock aficionados. The LP starts off in an almost go-go 1960s way, with an energetic keyboard lead instrumental number. This is followed by a very slow, depressing, blues song with French vocals. J'ai eu le blues, j'ai eu le blues vraiment mauvais. There is some nice electric guitar work however to keep one's interest throughout. From track 3 on the first side to the conclusion of the record, it's all aces. The music becomes primarily instrumental while taking on a darker stance. The guitar has that ominous fuzz tone, and there's an underlying jazzy structure lead by the fine flute and sax work. For these excellent tracks I'm reminded of the Eden Rose / Sandrose family out of France, and the relative progression from one to the other. If Champignons were lead by a female vocalist, that would solidify the Sandrose comparison.

Worth noting that the band is Champignons, not Les Champignons. There's one place in the liner notes that refers to Les Champignons, and that's because it begins the sentence that way! As if to say "The Mushrooms...". In another section of the same liner notes it states "...les Champignons..." which is mid-sentence this time.

Ownership: 1972 Les Jeunes Artistes Associés (LP)

No CD reissue as of 9/6/25.

1994 (acquired); 2008; 1/4/19 (review / new entry)

Liquid Tension Experiment. 1998 USA

Liquid Tension Experiment is basically an instrumental group featuring current and future Dream Theater members. And they took active King Crimson and experienced jazz bassist Tony Levin along for the ride. Levin was doing a few of these Magna Carta collaborations back then, so guessing he was bankrolling it for eventual retirement. And the other guys were I'm sure thrilled to have such a legend among them.

Of course when you get a bunch of Dream Theater guys in a room, and they decide to eschew vocals, then you can expect one prominent feature: Wank. They have that reputation even on the DT albums, and it's absolutely fair. The trouble with wank is it's entirely unnecessary. It's a form of insecurity I think. "Look at how many notes I can play per second?" To me it's like a guitarist and keyboardist's version of the drum solo. Unless you are a budding musician learning how to play, the discerning listener is not going to be too impressed. When I first bought LTE 20 years ago, wankery was the lasting impression, and I quickly sold it off into the marketplace. Today a copy walks in the door - for about 10 cents - and hey let's give this one a serious listen since it's here.

The truth of the matter is Liquid Tension Experiment's debut is not just about instrumental show-off, but rather they did manage to write a few good tunes in the process. Which is pretty impressive considering the easy-out would have been to provide just the opposite. Perhaps Levin's influence looms large here, or the others had more to say than chromatic scale practice.

The reality is this album barely has any heavy metal at all, and is more rooted in jazz fusion and even jammy blues rock. The guitar solos - when not wanking - have an almost psychedelic feel to them.

The album could have stopped after 'Freedom of Speech', and would have scored a 4.0 in my book. The opener is excellent throughout, mixing the heavy with the melodic. 'Osmosis' sounds like an instrumental version of early 80s King Crimson - or even 80's Jade Warrior (bet you didn't see that coming!). 'Kindred Spirits' reminds me of the best of the 80's and 90's fusion albums, and again features some fine melodies.

Then they begin to run out of ideas and start to rely only on instrumental dexterity. 'Three Minute Warning' - and even the ensemble state it's self-indulgent - looks like a recipe for disaster. But it's not so bad really, especially the first 2 parts that are more like a good blues rock jam than a boring practice session. And then they lose it at the end... Pity that.

Overall much - much - better than I remembered, and well worth a concentrated listen. Should have been even better. But the insecurities got the best of them. I never did hear the second one. Maybe I'll pay double and get that one for 20 cents.

Ownership: CD: 1998 Magna Carta. Jewel case.

12/18/18 (new entry)

The Facedancers ~ USA ~ Philadelphia, Pennsylvania

The Facedancers (1972)

There really is no album like The Facedancers, an obscure progressive rock band from the Philadelphia area (locale recently confirmed from various postings on YouTube). Typical of the Paramount aesthetic, The Facedancers were an eclectic bunch, that had no real identity, though to be sure it was probably the label's most purely progressive rock act (besting the also varied Baxter album). They use harmony vocals and have a slight folky and bluesy touch to their songwriting. But most of the songs feature long and complex instrumental breaks, that sound like they came right out of the early 1970's northern European scene with flute, electric guitar, and organ. The guitarist plays in a decidedly psychedelic manner throughout. Excellent album overall.

11/29/10 (review)

Ownership: 1972 Paramount (LP)

Muddy recording would benefit greatly from a remastered reissue. Speaking of which, no legitimate reissue exists as I update this post (3/4/25)

12/28/18 (new entry)

Love Live Life (& related) ~ Japan

Kosuke Ichihara & 3L - Now Sound '75 (1975)

Now Sound '75 has the cool title, but the band name has been something of a mystery until recent times. Technically known as 市原宏祐 と 3L, the former translates to famed jazz saxophone & flutist Kosuke Ichihara, and the 3L denotes the recognizable Love Live Life. So the album really belongs to Ichihara, rather than the latter. We'll explain later...

As for the music, when I hear the term deep groove, this is exactly what the term means to me. Often times what it becomes is a catch-all term for funk, disco, or even straight out jazz. None of that here, as you'll need to put a jacket on since the music is so cool. Slow churning rhythms, with some splendid flute lines, atmospheric sax, and a smattering of fuzzy electric guitar that is always tasteful, never overbearing. Grab a tumbler, drop in some ice, pour a thimble full, close your eyes, and nod your head. Yea sure, put on a derby hat too. A couple of the tracks are of the smoky jazz variety, so much so, one gets cancer from the second hand cigarettes the vinyl puffs out of the grooves.

Ownership: 2017 HMV (LP)

Satsujin Jissho [Ten Chapters of Murder] (1974)

CDRWL review

No CD reissues for either as of 3/4/25.

9/3/10 (review)

12/21/18 (new entry)

Cain - A Pound of Flesh. 1975 USA-Minnesota

Classic private label Midwest hard rock from 1975, this time hailing from Minneapolis. Most known for its grotesque cover of human flesh pulled out of a can, this perhaps a reflection on the local Minnesota meat packing employers and the continuing labor strife issues that were particularly strained in the 70s and 80s (as documented in the movie American Dream). I’ve gone on before about these type of bands, all played for local hard working Union guys, high school flunkies, and just general no-goods and never-beens. And their girlfriends… “Yea dude, she’s a stripper over at Peek-a-Booze and loves to get wasted and rock!” Overall, Cain’s debut album is an excellent representation of mid 70s hard rock. Guitarist Lloyd Forsberg certainly holds his own, while vocalist Jiggs Lee (gotta love that name!) gives a very good high pitched blues rock performance. When Cain stretches a composition past the 4 minute mark, then even more talent is revealed. ‘Katy’, ‘Badside’, and the longest, the eight minute ‘All My Life’ shows an almost progressive like nature – closer to Styx than Yes though. Lyrically, these guys hit a smelly whiskey bar double play. Check these gems out: “She’s long and lean, she’s got the meanest streak you’ve even seen. Just a South Side Queen…”. “Well, if you you (sic) ain’t getting’ (sic) any and you’re really stuck on looks, you find yourself in the bathroom sittin’ down with the picture books, you take your situation in hand.” I couldn’t make this stuff up if I tried. The real irony is that the CD booklet, written by the band, states “(the album) originally was intended to have a very ethereal theme with a reference to William Shakespeare’s ‘The Merchant of Venice’”. Methinks the years of booze and partying created a delusional revisionist history. And about the cover? “The resulting cover was the idea of (original label) ASI Records’ marketing department run amok." A Pound of Flesh is a real party starter and a must own for hard rock hounds and anyone who appreciates the Monster (now Rockadrome) Records aesthetic. Time to go on strike and grab a bottle of Grain Belt beer, cause Cain’s playing tonight at Humpin’ Hannah’s.

Ownership: LP: 1975 ASI. Single sleeve. Recent acquisition from JL (2023). Last night's listen resulted in a +2, though I had it rated too low to begin with. Should have been +1. My first copy (purchased in 2005) was the Monster CD that made up most of the review above. I've altered it for current state mindset.

2005; 2006; 12/21/18 (new entry); 3/30/23

Capitolo 6 - Frutti per Kagua. 1972 Italy

Capitolo 6 were a band originally from Viareggio, Tuscany (and later relocated to Rome) who only managed to get out this one album, and then disappeared into the mists of time - an all too well known fate of many a Italian band of the early 70s. Frutti per Kagua is generally regarded as a tier 2 or 3 album, I personally hear it differently, and consider this one of the masterpieces of the Italian progressive rock style. It is not of the effete branch that is for certain. This is from the grimy, nasty, dirty, and unwanted streets of Italy. The music is raw, with hard guitars, stuttering flute, and constant meter changes. The rough and tumble vocals are the giveaway of their provenance. So it's here one realizes the music belongs more to the school of Jumbo, Odissea, Delirium, and De De Lind. If you want all of your Italian progressive rock to fit neatly in a box that only contains PFM, Banco, and Le Orme, then run far away. This is bare knuckle progressive rock that drinks beer not wine. I can listen to this album all day.

Personal collection
CD: 2008 BMG (Japan)
CD: 1994 Mellow 
LP: 2000 Akarma

Frutti per Kagua is one of the real gems of the collecting world, where originals cost 4 figures and the first digit isn't even a 1...or a 2. In 30+ years of collecting I've rarely, if ever, seen one for sale (even though it was on It - a label of RCA). It clearly didn't sell well in its day, and even well-heeled Italian collectors do not possess one. I don't believe it was ever imported in the States like many Italian albums were (albeit limited). That is to say, I've never seen one with a Peters Intl sticker affixed. The original comes in a gatefold cover meant to be viewed vertically, and has a pouch covering the entrance area of the LP. For this reason, and others, I'm quite happy to own the Japanese mini-LP which replicates this to the finest detail.

Frutti per Kagua was one of the last of the "name" Italian albums for me to hear. Because of the almost non existence of originals, we had to patiently await for the reissue market to come to the rescue. And it finally did when Mellow reissued the album in 1994, and I bought one immediately. I replaced this as soon as the Japanese mini hit the shelves some 15 years later. In addition I did pick up the Akarma LP along the way. It comes in a thick, heavy, but standard gatefold. In the end it was superfluous to own and sold it off.

As for the cover, I don't think it's fair to use post internet modern worldly sensibilities to judge the contents. This was 1972 Italy, and as I mentioned, this is grimy music. It's meant to be real, not fantasy. In an era where we have to view disgusting things on albums like swastikas, nuns performing sex acts, goat's blood, and dismemberment - all designed to shock you - in the end that's just stupidity. This isn't that. You may want to look away, but reality hurts.

Hero. 1974 Italy

Certainly one of the more unusual entries from the Italian progressive rock scene of the early 1970s, Hero’s sole album is an enigma, yet essential purchase for fans of heavy progressive rock. Some of the oddities found here include: 1. Though based in Italy, Hero relocated to Germany to record their sole album for the Pan label (Sahara, Metropolis); 2. Going against convention for an Italian band, Hero’s lyrics are entirely in English; 3. The album didn’t see a release until 1974, two years after the actual recording and one year after the death of group founder and guitarist/bassist Massimo Pravato. Hero were a highly innovative trio, driven by aggressive electric guitar, even though played primarily in a jazzy style (similar to Osage Tribe maybe). There’s also quite a bit of organ from vocalist Robert Deller (from England and whose vocal style is somewhat reminiscent of Peter Hammill). In fact, given the entirely disorienting nature of their music, it would seem Hero may have been the forefathers of the sound championed by the modern Italian group Garden Wall. Even though the majority of the songs don’t clear the 6 minute mark, it’s extraordinary how much material is packed into each composition. Generally mislabeled as a hard rock band, Hero present one of the real rarities: An album with no obvious comparisons. The closest I can get are some of the harder German underground bands like Virus, Necronomicon, or Erlkoenig.

Ownership: LP: 1974 Pan. Single sleeve. Acquired from a friend (1999).

CD: 2006 AMS. Papersleeve gatefold with liner notes.

1999; 10/6/06 (Gnosis); 12/6/18 (new entry)

The Bevis Frond - Triptych. 1988 England

Triptych is The Bevis Frond's 3rd proper studio album not counting comps and the like. The deal with Nick Saloman is he brings forth 2 distinct types of music to most of his recordings. The first is what I'll call "straight songs". While ostensibly from the neo psych school, I've found the music to be more toward the alternative/indie/college rock sound of the 80s. The singing tends to be flat and monotone, missing out on the wonderful harmonies of the 60s. Not to mention a lack of melodies in general. The music just sort of lays there, strumming chords, and plowing through each song, each duller than the last. The other side of The Bevis Frond is the jam element. And it's here that Saloman and Co really shine. He has a real knack for providing intense solos where needed, or creating the proper Kosmiche atmosphere - with a creaky old organ no less - so as to set the table for these solos. In effect I think he's a masterful psychedelic guitarist, more of the early 70s school... ...and a very generic songwriter. I realize not everyone will agree with me here, so for those of you who have a similar disposition to mine, then the albums you want to seek out are the ones with the most instrumental impact.

And Triptych is that album. In fact I'd say the very best of his entire catalog which is quite extensive (at least of those I've heard, which is most). Tracks like 'Into the Cryptic Mist', 'Phil Exorcises the Daemons', and 'Tangerine Infringement Beak' are great examples of this. There's even one fine "straight" song this time in 'The Daily Round'.

If you're looking for the right place to start with the Frond, and your background is more of a "head" who enjoys psychedelic in the cosmic Krautrock sense of the word, then I suggest you start right here with Triptych.

Personal collection
CD: 2001 Rubric (USA)

My first copy was the original US LP on Reckless purchased upon release. But at the time I didn't appreciate the contents and moved it out rather quickly. Many years later I picked up the CD. Which is the way to go as it features 6 very good and relevant bonus tracks.

Ga'an - Black Equus. 2011 USA

Interesting Zeuhl styled album from Chicago. The pounding rhythms, the driving bass, chirpy keyboards, haunting organ, and overall martial style are certainly hallmarks of the genre. Lindsay Powell's vocals, however, are a bit tough to take. She doesn't sing, she doesn't chant, she doesn't hum, she doesn't recite - she just caterwauls - in whatever key she feels like. I love just about anything in the Zeuhl genre, but this one is a bit of a slog. Also, the thuddy bass-heavy production is another problem. It's very good, but somehow it seems it should be better.

Personal collection
LP: 2011 Captcha

KKB - s/t. 1974 USA (archival)

Bruce Kulick is one of those guitar players you've heard of, but can't quite remember why. He's most known for his long stint in post-makeup Kiss during the 80s and early 90s. Today you're likely to see him in a reality show, helping Kiss out somewhere, or doing the nostalgic circuit with none other than Grand Funk Railroad. Yea, he's that guy.

But before all of that, when still in his early 20's, he formed an unnamed band in 1974 (KKB was a later appellation) in his resident Queens area, with a couple of neighborhood acquaintances. They had set out to be a cross between "Cream and Yes". Well they failed on both fronts, and the latter will never enter your mind. With that out of the way, what you do get is a tightly woven hard rock album, with decent songwriting. The rhythm section is fantastic here, and Kulick lights it up with some fuzz and wah-wah. And the production is excellent for something like this. If there's a downside, it's there's not that much material here. 'Someday' is kind of throwaway, and 'You Won't Be There' is represented twice, the latter with more jamming. So you're really looking at about 26 minutes of quality music, which is a solid EP length. On the whole, an excellent archival release.

Personal collection
LP: 2015 Shadoks (Germany)

This was originally released as a private CD in 2008 (under the title 1974), and flew completely under everyone's radar. Shadoks got wind of it, and released it on vinyl in their usual deluxe style. The LP is a thick single sleeve cover, with an insert filled with liner notes. And as an all-time first (for Shadoks) - it's cheaper than the CD!

Scram ~ USA ~ Ohio

Scram (1980)

Scram were a band from Springfield, Ohio that represented the second incarnation of Lodestar, a fine group who had put out one solid hard rock album in 1977. Leaving behind Lodestar's fraternal rhythm section - and later one of the lead guitarists - Scram were very much of their era in terms of hard rock with commercial ambition. They clearly weren't tuned into the metal underground as this was music to get a record deal and regular steady gigs at various regional clubs. Mostly held back by the tendency to fall into the AOR tropes of the day, they still had a few good hard rockers in 'Street Rat Shuffle', 'Patchwork Blue', and the opening title track. They don't really let loose until the last two minutes of 'Mirror Minds', by which time most have tuned out. Worth hearing for genre fans though.

Reissued on CD by Retrospect (2009)

11/30/18 (review)