Leger de Main (& related) ~ USA ~ Erie, Pennsylvania

Mythologic - Standing in Stillness (2003)

I've waxed on about Erie, Pennsylvania's Leger de Main in the past. Their debut was a personal favorite of the mid 90s, and represents a soundtrack of a time and place for me. After that, I more or less lost track of the band. I loyally picked up albums involving the band, but didn't really give them much attention beyond an initial play or two, and then filed deep into the abyss of the ever growing collection. And here we are some 15+ years later revisiting the CD, and I had no memory whatsoever, though at least I had it properly categorized with my metal collection.

In effect Standing in Stillness is Leger de Main with an additional metal guitarist. The Rodler family (Melissa Blair now married in) are joined by a one Steve Matusik, who was with a local Erie metal band called Andeavor. But the music is clearly a Rodler product, and their style of instrumental progressive rock is all over this. Now with the metal guitar sound, we move from a Yes influence to that of Fates Warning perhaps. Works for me! Melissa's vocals are the same as ever, strangely even more subdued than on Leger de Main's works. Each track is chock full of ideas and flow nicely. This is a prog rock album with metal elements, not the other way around. Well worth investigating for prog metal fans, and especially those who enjoyed the Leger de Main albums and can stomach metal guitars in addition.

Ownership: 2003 Progressive Music Management (CD). Lyric booklet. Acquired in 2005.

7//05; 6/20/19 (review)

The Concept of Our Reality (1995)

Leger de Main were a trio from Erie, Pennsylvania made up of the Rodler brothers (Brett on drums, and Chris on everything else), along with Melissa Blair on vocals. It's quite astounding then, with such a small lineup, what a racket these three were able to create. I first bought this CD toward the end of 1995, not too long after its release, and it quickly rose to one of my favorites of the year. I played it often - seemingly having a permanent place in my Mitsubishi Eclipse as I drove through various parts of Denver with this blasting away in the background (as an aside - still the best car stereo I ever had, including today). After fully immersing myself with the music over a two to three month period, I finally filed the CD. Where it stayed until tonight, when it finally was chosen for a random listen some 22 years later (if there was ever an argument for not trying to collect too much, this would be it.). On this note, I was just about to meet the future Mrs. Genius Hans, and the days of cranking tunes everywhere I went were coming to an end - not that I knew it at the time... Sigh... In any case... back to Leger de Main.

So what made this album special, when many others made a similar attempt? It's the blend, the secret recipe that has patrons lining out the door, while someone else's similar restaurant remains empty. Leger de Main's primary ingredient is that of 1980-81 Rush, and Blair's shrill voice more often than not recall Geddy Lee's when in a similar mode. Though presumably hers are more grounded in estrogen. Now with that in mind, immerse the music of "Moving... Waves" right smack in the middle of 'Gates of Delirium'. And then have that played by Yezda Urfa. Yea, exactly. It won't take long to know if this is an album for you, because the opener 'To Live the Truth' is an overview of the entire album. It's the rhythm section that really makes it work, with Chris' woody bass and Brett's hyperactive drums propelling the proceedings along at a rapid rate. And then Chris will overlay all sorts of guitar and keyboards on top in an exciting fashion. Leger de Main are kinetic, jumpy, and on fire here! I would imagine some folks will struggle with Blair's voice, but I think she fits perfectly considering the manic nature of the recording.

The Concept of Our Reality is yet another great example of the fantastic music that we were lucky to hear in the 1990s, an album that received attention back then among the faithful, but has now been long forgotten. Will this era be recaptured just as the 70s were? I submit yes, but it will take much longer (probably past my lifetime), as the original audience was just a tiny fraction of the 70s heyday. For the three people who read my reviews, I highly encourage you to pick this CD up (or the 2xCD comp A Lasting Impression that includes both their albums).

Ownership: 1995 Progressive Music Management (CD). Acquired in 1995.

1995; 1996; 10/15/17 (review)

Once owned: Second First Impression.

10/15/17 (new entry)

Richard Sussman / Andy LaVerne / Bob Moses ~ USA ~ New York

Tributaries (1979) 

On the surface Tributaries would appear to be your garden variety instrumental jazz fusion album on the Inner City label. In some ways it is, but it's the instrumentation that makes this one interesting. Sussman and Laverne both play keyboards here, and the instrument of choice is decidedly the piano. But it's the other toys that create the separation here: Mini-Moog, ARP Omni, and Fender Rhodes. So for analog synth fans, Tributaries suddenly becomes more than just an idle curiosity item. The songwriting is uniformly good, and there's plenty of great melodies. The piano playing is quite accomplished as well. This leaves the 3rd member of the trio Bob Moses, who provides the drumming. His style is scattered and energetic, giving the album a bit more urgency than usual. Overall a fine fusion album, and one that is still unknown.

Ownership: 1979 Inner City (LP). Acquired in 2019.

No reissues exist as of 9/28/26.

6/20/19 (review / new entry)

Sabbtail ~ Sweden

Otherworlds (1998)

Sabbtail were an obscure band from Sweden who released two albums under the cover of darkness, and disappeared without fanfare.

If looking at the ratings only on various sites, one would think Otherworlds was yet another boring Swedish power metal album that is best forgotten. Oh, not so fast there partner. It is ostensibly a European power metal album, but that would be its only common - and dull - feature. In a parallel universe, one could imagine Rainbow performing this if they'd adopted metal instead of hard rock. And in actuality some of this album is indeed hard rock, but distorted heavily. So yes, some of the riffs recall Ritchie Blackmore circa 1980, and others conjure up Yngwie Malmsteen.

But the kicker to the whole thing is the presence of... the Hammond Organ! Say what? Now Hammond's are not entirely unique in metal, but generally they are relegated to background status, and often times you can't hear it anyway. That's not the case here, and in fact, the organ is featured often, with some wicked soloing. So now pack your Rainbow staff with Jon Lord as well.

Even stranger is the production, which is a complete mess. Everything is in the red zone and distorted. The bass is mixed WAY up front. The winners in this decidedly odd way of producing are both the fuzzy bass and the Hammond. It takes a couple of listens to orient, but once it does, one hears something satisfying and completely different to the norm. It's all very familiar, and yet not like anything else either. For that alone, this comes recommended. Flawed as it may be.

Ownership: 1998 Canyon (CD)

6/20/19 (acquired / review)

Massacre - s/t. 1989 Chile

Massacre's debut album is something very strange - for the era and the location (1989 Chile). If you don't get past the first song then you'd think that you'd stumbled onto some chugging metal album with Spanish vocals. 'Temblor del Cielo' follows with mellotron. OK then. A strange mix of thrash, heavy metal, screaming vocals, spacey keyboards (synthesizers, organ, mellotron), fusion, prog, and whatever else popped into their nutty heads. It's definitely progressive metal, but not in the way the term has come to mean. You couldn't be further away from Dream Theater than this. And of course they close with a metal cover of Los Jaivas' 'Todos Juntos'. Wow. Overall a gritty, odd, not always satisfying, but undeniably fascinating album. One of a kind, that's for sure.

LP: 1989 Oso
CD: 1998 Toxic

The original LP came out on Oso Records in 1989. I had it once, but sold it off (it was already rare in the 90s) when the CD came out. Now that CD is rare too... Easy to see why. Not a typical album.

CD sold: June 2019. Received too good an offer to pass up.

Eberhard Weber - Yellow Fields. 1976 Germany

The talent that Eberhard Weber brings forth on Yellow Fields is drool worthy. Rainier Brüninghaus (Eiliff) on keyboards and the venerable Charlie Mariano, fresh off a stint with Embryo, on saxophone and Middle Eastern reeds, is an irresistible combination. But in the end they are here to support, not dominate, Weber's vision. Music like this is often referred to as "ECM Jazz", and it's easy to see why it has its own category. It's jazz music for the comfortable and sophisticated middle aged set, never radical but also not banal either. As someone who has just sailed past middle age, and yet never experienced what that feeling and way of being is supposed be like, music like this inspires a compulsive hand clap, while my mind wanders about what else I'm going to listen to later in the session. As I often say in business meetings, I might be the oldest person in the room - but I'm not the most mature.

For mature audiences only.

LP: 1976 ECM (USA)

Tom Nehls - I Always Catch the Third Second of a Yellow Light. 1973-1975 USA-Minnesota

Tom Nehls. So much to say here, and yet it's not easy to do so. As Nehls himself asserts 'Words Can't Explain'.

Nehls was in high school in Minneapolis - yes high school - when I Always Catch the Third Second of a Yellow Light was recorded and released. Even the title is incredibly clever and something most Americans who drive can relate to. The album does not have an obvious comparison, though it's clear that Nehls had the uninhibited imagination that comes with a certain kind of genius. Fortunately no producer or record executive got in the way to ensure that Nehls was focused on making a hit record. Apparently Nehls was quite obsessed with the creative works of the late 60s like Sgt Peppers or the Mothers of Invention. This comes across over and over. But only in the approach, not the sound.

This is a real grassroots effort. Basically Nehls and his high school friends went about making a rock album. And Nehls was fortunate to befriend a one Paul Stark who had just opened a professional studio. And Stark was anxious to test various ideas and sounds, and he found his counterpart with Nehls. So they had the opportunity to record - over a lengthy period of time - an album of intense creativity.

Ostensibly you will find Nehls filed in the "real people" category. Oh it's real alright, but not in the way the term has come to mean, that of semi deranged, incompetent artistry. The liner notes on the Now Again release address this as well. Rather this is real in that the imagination has no bounds. You won't hear another album like this - ever.

Going over a track by track would be difficult. This is one of those albums where one has to state: "You have to hear it". It should be noted the music is not radical or avant garde in the slightest, but rather something familiar but twisted. The songwriting is almost at the Burt Bacharach level, a writer that subconsciously must have entered Nehls' mind while composing this album. But it's also very psychedelic, in its purest state: Studio manipulation and other effects to throw one off balance.

You'll know if this album is for you by the end of Side 1. 'No People in the Forest' is a psychedelic folk wonder. The beautiful short instrumental 'Words Can't Explain' leads into the stunning 'Clean Air'. When the female angelic vocals come in over the bells, if you aren't getting goosebumps up and down, then we're not aligned on what great music sounds like. And who provides those melt-in-your-tracks vocals? Dorothy Benham. Who?  Look her up. I recommend Google Images. Did you just miss a breath or two? She was Miss Minnesota in 1976, and Miss America in 1977! That's quite some accomplishment. Nehls wanted her on more of the album, but the timing of the sporadic recordings and school activities didn't allow for her to be there for more than one track (don't forget about that -  these were all kids in high school! And good kids too, involved with the school, that sort of thing). Oh what a pity.

'The Underwater Symphony' closes the side in very experimental fashion. Very trippy, but again extremely listenable. Side 2 continues this path, but becomes even more rock focused - and then you hit the album's peak at the end - the lengthy 'Your Death' is a tripped out psych rocker, and packs one heck of a wallop for an album such as this.

So let's talk about the new 2xCD/LP reissue set on Now Again (2019). The liner notes are excellent, one more of an opinion piece from a well known collector, the other a deep dive with Tommy Nehls himself, who has remained a professional musician all his life (living in Florida these days). When reading the first part, I kept seeing words like Texas and private press. Paul Major and the whole 80s / 90s collecting scene. I must know this guy! Well, sure enough, they were penned by Rich Haupt, he of Rockadelic fame. I spent a lot of time with Rich in the late 80s and early 90s. He was incredibly generous with his time, and I visited his house on many occasions. I wasn't in his inner circle, primarily because I was too poor for that crowd lol. But that didn't matter to Rich. He was the king of finding rare obscurities. The stories I could tell... Anyway I learned a ton from him back then. By the mid 90s I had moved away to Colorado and Rockadelic became more professional.

Tom Nehls is the perfect album to see his well-written notes. I don't recall this album from back then, so guessing it was a later 90s discovery. I don't remember when I first ran into his name, but most likely an ebay auction that netted a fortune. I made notes of all albums like that in the hope that one day I'd get to hear them. When the CDRWL really started in earnest back in 2009, Nehls was an early score (no, not the LP, but rather a cd-r). As I was about to enter it into the wish list, I discovered it had been reissued by Nehls himself! So I contacted Tommy Nehls and we had a nice dialog. And I purchased the "CD", but unfortunately it too was a CD-R, but professionally done. Later a friend confirmed that he pressed it as a manufactured CD. I never bought it again. Fortunately because...

No, I'm not done here. As alluded to above, there is now a double CD set with full liner notes, a few photos, and...........

A full album of newly found archival material! Are you kidding me? Whereas I Always Catch the Third Second of a Yellow Light was recorded in 1972 and 1973, these recordings come from 1974 and 1975. It's unmistakably Tom Nehls with different influences, including some that were more popular in the mid 70s. But with his own unique vision. It's almost as good as the album proper. Perhaps it's just as good, but I'm just getting my mind around it for the first time. Oddly the liner notes don't address these recordings. All we know is that Nehls stayed in Minneapolis and went to the University of Minnesota before transferring to a university in Wisconsin in 1975. So we're left to guess that he continued on with Stark until he left the state.

If you made it this far, I presume the album is already in your shopping cart. If not, you didn't get this far.

Ownership: CD: 2019 Now Again. Details are above.

Former ownership: cdr: 2006 TLN.

Originals are a small fortune. Apparently they pressed 1000 (which is a lot), but only sold ~100 to friends and family. The other 900 LPs stayed with Nehls' sister until - tell me if this doesn't sound familiar - her basement flooded. Sigh.

2009 (first listen); 6/9/19 (review / new entry)

James Brown - Sho is Funky Down Here. 1971 USA-Ohio

Sho is Funky Down Here is the brother album to The Grodeck Whipperjenny, an album I've been talking about for over a decade. Given the new reissues on Now Again, it gives us a chance to revisit these classics in the proper manner. And in my case, I never did hear this album until now. And you can't talk about one without the other, because essentially these albums are lead by arranger and keyboardist David Matthews. Brown for his part mumbles a few words on two tracks, gets in a couple of organ chords, and models for the cover. Hey why not? Matthews didn't mind... talk about a marquee name behind you! Besides Brown was his employer at the time.

The music of both albums are similar, that of a hard instrumental psychedelic funk. Whereas The Grodeck Whipperjenny had elements of a European early progressive rock act, Sho is Funky Down Here is more purest in its stance. This one has a groove that won't quit. And if you like your funk with fuzzy guitars, then it's hard to imagine you not loving this one. At 31 minutes, though, it leaves you wanting more.

Ownership: CD: 2019 Now Again

Similar to The Grodeck Whipperjenny with excellent liner notes, photos, and a nice digipak. Still think they should have reissued the 2 albums together, but OK, they mined the source for more revenue. My business mind approves. My consumer mind doesn't.

6/9/19 (new entry)

Xaal - On the Way (En Chemin). 1992 France

Xaal were a band from France who managed 3 albums until the mid 90s before calling it a day. On the Way (En Chemin) was their second album, though most of us thought it was their debut. I purchased this CD immediately upon release, and that's how it was sold at the time. It was many years later that we learned of their very obscure cassette release, which is now accepted as their debut.

Xaal play a decided form of Zeuhl mixed with fusion. Not sure why some reviewers are skirting the Z word altogether. One listen to the title track, and you'll recognize that bass and drums work as obvious Jannick Top / Christian Vander, not John Wetton / Bill Bruford. And the whole album is this way. Xaal (a Zeuhl moniker if I ever heard one), were the leading light for the genre at the time, a movement that was on life support by 1992 (Magma for their part were on hold and Vander was still leading Offering). And as the contemporary leader, they did not let their fan base down. Xaal were a guitar based trio, with a strong sense of melody and groove, the latter to be expected. So in addition to the obvious Zeuhl trance like rhythms, one will hear other progressive rock/fusion bands of the era such as Tiemko and WLUD. All instrumental, and satisfying from beginning to end. A must for Zeuhl fans.

Personal collection
CD: 1992 Progressive International (UK)

The name of this album is in full: On the Way (En Chemin). The Progressive International release is the original. It was later that it was reissued by MSI in France (Discogs claims 1992 as well, but there's no supporting data for this release). Also to note, the album was recorded in 1991, but released a year later.

Surprisingly an album that one can still find for a reasonable price. These are just the type of CDs that have become collectible. I suspect it's only a matter of time. It was never pressed on vinyl or reissued beyond the French release. If this album sounds good, and you collect physical assets, then I wouldn't wait too much longer.

Schwarzarbeit ~ Germany

Schwarzarbeit (1981)

Schwarzarbeit's debut is like a lot of albums from the late 70s and early 80s German landscape. It's a type of symphonic progressive rock, but never too daring, and a couple of AOR moments thrown out in case a record executive happens to stop by. Mostly melodic in that later Novalis way, or later Camel if you prefer. Mostly reminds me of same era Anyone's Daughter. Hard to imagine a couple of these guys ended up playing in that most progressive thrash band Mekong Delta. They can't possibly be more different. Perhaps there was some pent-up anger that needed to be released?

Interesting for me to realize I had published some notes about this album on the CDRWL, but never duplicated them here. Why it's interesting is those notes were penned nine years ago, and yet this review could have been that review, even after a recent revisit. So here they are for posterity:

---7/28/10

Good ole Schwarzarbeit. I bought the second album well over 20 years ago, and was surprised to find out that it's still without a CD issue. And that's because of Musea's issue of their 3rd album James Gordon's Story, which I also bought at the time of release (1994 / 1995). So now I've finally heard the debut, and I can say that Schwarzarbeit are remarkably consistent. The key word with Schwarzarbeit is "almost". They're almost very good. The debut starts off with a pretty awful vocal number only to be followed by eight well done melodic rock instrumentals. The second album is similar, as is their final album (only released on CD). Schwarzarbeit are the kind of group that is nice to have in the collection, but not one you'll pull out with any kind of regularity. There's always something better to listen to. But it could be worse... It's almost great.

Former ownership: 1981 private (LP)

7/28/10 (review); 6/9/19 (update / new entry)

Sunblind Lion ~ USA ~ Wisconsin

Above & Beyond (1978)

I recently wrote about Sunblind Lion's debut Observer, and noted how it was an excellent blend of progressive and commercial rock. By 1978 the overall music world, especially here in the States, had moved away from prog. And so Sunblind Lion did as well, as to stay relevant in the game, and keep their slim hopes alive that they may hit the big time. Above & Beyond is the end result. The first eight tracks here are clearly geared for FM radio play, though nothing really stands out, which might explain why Sunblind Lion never got past the regional stage. Of course, like many bands with a progressive rock heritage, Sunblind Lion couldn't resist throwing a bone to its dedicated fan base, and ended with the two part 'King and His Parliament', the obvious highlight of the album for folks like me. But it's too little, too late. Borderline 3 stars but gets the lower mark because they could have done much better. They traded art for dollars. A devil's deal.

6/9/19 (review)

Observer (1976)

Sunblind Lion were a band from eastern Wisconsin who played a familiar type of music from the Midwest region - that of progressive rock mixed with FM radio sensibilities. Likely they were geared toward the former, but to earn a living they mixed in the latter for both club gigs and the rare chance they might get "discovered". All things considered, Sunblind Lion were one of the more successful bands at this racket, and managed a nice three album run. And based on supply and demand economics, it would appear their privately made debut album sold quite well in the local market, given the sheer amount of product that is still available.

The album opens fantastically with the hard driving Kansas styled 'Ride the Wind', with riffing guitars, heavy synthesizers, and ripping organ. Things break down quickly with the club pleasing boogie rock of 'Cat Eyes' and is best skipped over. 'Jamaican Holiday' was their choice for a single, and a good one. Mostly a very pleasant synthesizer lead commercial rock track that is well composed. But unfortunately some of the breaks have that honky-tonk boogie of a Bachman Turner Overdrive. Groan.

Fortunately from here on out, the theme is more progressive than commercial. '(Make It) Another Day' will also remind one of mid 70s Kansas combined with a bit of southern rock ala The Allman Brothers. 'Games of the Lonely' has a very strong synthesizer presence, and could have also been a hit FM rock track of the era. 'Spring Essence' is the most purist of the progressive rock tracks here, and proves Sunblind Lion could have released a masterpiece of the style had they chosen. The 11 minute epic that closes the album is of course more of the same, though not quite as dynamic and takes awhile to get rolling. But once it does, it's superb.

Overall, Sunblind Lion are yet another excellent example of the type of quality material coming from the American heartland of the 1970s. Strong album for fans of the style, but maybe only to them (us).

---6/4/26

No significant changes to my review above, pretty much exactly as I feel now, though perhaps I gleaned a +1 out of it anyway. The two bonus tracks on the CD are from their 1975 45. One year prior to their debut album, Sunblind Lion were still utilizing a mellotron. Up to no good, though, as they primarily used it as a string orchestra for their obvious pop ambitions. Their album is far more progressive than these two soft rock tracks, which have more in common with Jigsaw than Kansas.

Ownership: 1976 Homegrown (LP). Acquired in 2019.

3/16/19 (review); 6/4/26 (update)

3/16/19 (new entry)

Fresh Maggots. 1971 England

Those who name their band Fresh Maggots come from the same UK folk rock school of thought as groups who sing about murder and rape while adorning their cover with a Grendel like creature. Or bands who name their album Mice And Rats In The Loft.

At its core, Fresh Maggots is simply a gentle folk record performed by a duo. It's the kind of album that if I were to judiciously choose the right tracks - or portions of tracks - to my dad, he would have been delighted. Until he heard the screeching and heavily affected fuzz guitar blaring from the speakers. Then he'd look like Grumpy Cat (RIP). (As an aside, my Uncle always looked like Grumpy Cat. Hmmm.... I digress).

As you've probably read from me before, most albums that are labeled psychedelic folk have me scratching my head as to where the psychedelic comes from, other than it was released in the late 60's maybe. This is not a problem with Fresh Maggots. It's pretty obvious.

Depending on one's perspective, the wild guitar, flutes, etc.... either enhance or ruin a perfectly good folk album. I - of course - am solidly in the former camp. And because of it, I find Fresh Maggots to be one the highlights of the genre.

Ownership: CD: 1995 Si-Wan (Korea). Part of a collection buy (1997). This was the first legitimate reissue and it sounds like it's from the original RCA master tapes. I recently obtained the Sunbeam reissue (2023) and unfortunately it's taken from vinyl and not a very good transfer at that (lots of clicks and distortion - glitchy). I haven't had any issues with Sunbeam prior, so this was disappointing. The legality is unquestioned though, and features full liner notes with band participation. It also includes both tracks from a rare single (sounds fine, but not at the same level as the album) and 5 live songs from 1971, though no new compositions (pretty much straight renditions with slight dropouts). Taking this all into account, not worth keeping the Sunbeam reissue. I'll photo the liner notes and sell it. Original LP's are pushing 4 figures, so I'm fine with the CD here.

1997; 5/24/19 (new entry); 8/21/23

Pan - On the Air. 1970 Denmark

Recently I wrote about Pan's debut, an album that took me some 25 years to reconcile with. Not long after, I was offered this archival CD of Pan's radio recordings from the same year of 1970. All the tracks are different, so I pounced on it.

Good move. What's interesting about the radio sessions is that Pan are more psychedelic and less straight-up hard rocking. Like most Danish bands from the era, Pan possessed an innate talent to set off on a jam and keep it interesting throughout. As with the debut, Pan aren't going to win any songwriting awards, but the instrumentals more than make up for any shortcoming. The longer tracks, of course, are where the highlights can be found. And there's plenty of them. As a whole, I found the archival album more satisfying than the studio effort.

Ownership: CD: 2004 Karma. Jewel case release. Online acquisition (2019). Looks to be a second pressing as the cover is different than the original. Like with Karma's reissue of the Pan album, all the liner notes are in Danish. If anyone has an English translation, I would most welcome them, and publish right here for posterity and reference to all.

5/24/19 (new entry)

Burt Bacharach - Reach Out. 1967 USA

Burt Bacharach seemed to corner the market on all the excellent melodies and arrangements of the 1960s. How one person could generate so much creativity, within the tight space of pop music, will go down as one of the great mysteries of our time.

Bacharach is famous for his hit making songs. But on album, under his own name, not so much. It's telling he only had 10 albums by the end of the decade he helped define in pop culture terms. Reach Out is one of those, perhaps his most known. It's basically an orchestrated version of his top hits. For anyone else, this would be a yawn fest, 101 Strings' Hymn to the Great Elevator. In the hands of Bacharach, the most adept of arrangers, all of his songs come to life in different and inspiring ways. There are no star studded vocalists here, though it's not entirely instrumental. You will recognize most of these songs, but not in the same way as you might think.

Ostensibly this falls into the Easy Listening genre. This a term Bacharach bristled at. Yes, it's easy on the ears for sure, but it's hardly easy to compose or perform. I could not agree more. The depth of composition here is astounding, and was copied by thousands of aspiring songwriters. Most fell way short of achieving it.

Did you know, as I write this, that Bacharach is 91 and still writing songs? Somebody should take a blood sample. I bet a wire comes out instead...

Personal collection
LP: 1967 A&M

An easy album to find. Not so easy to find in Mint condition, which I recently did.

Steeplechase ~ USA ~ Brooklyn, New York

Lady Bright (1970)

Steeplechase were a band from Brooklyn who released this one LP and disappeared with every other band from 1970 America. Their music is decidedly on the hard rock side of the scale with heavy guitar and Hammond organ. Vocals are of the rough bluesy variety. Steppenwolf seems to have played a major role in this band's development.

Opener 'Wrought Iron Man' kicks ass and is a very auspicious beginning. One of the better early hard tracks I've heard from these shores. It's a dumb name though. I understand an Iron Man, but Wrought Iron Man? What is he - a fence? Hey, you could take that metaphorically as you wish... Incidentally his sister goes by Cast Iron Girl... The other major highlight is the proggy 'Sea Shore' a second side middle track that is easily missed if not paying close attention. 'Talking Bout You' has some cool psychedelic effects, and the second half of 'Mary Clarke' has a nice jam. The closers on each side are best skipped over, unless you enjoy the gospel-ish side of 70s rock.

Solid album that I'd never even heard of until today. Good rummage sale pickup for sure.

BTW, it seems the band is really quite happy on the front and back cover. Could it be the very first time they've seen plants and trees? Hey, you never know...

Former ownership: 1970 Polydor (LP). Acquired in 2019.

No reissues as of 3/12/25

5/24/19 (review)

Hanson - Now Hear This. 1973 England

There are those, perhaps even a majority, who believe the music world would have been different had Jimi Hendrix remained alive. His larger than life personality and obvious powerful influence in the late 60s would have kept the creative force of continuing to challenge music norms to this very day.

No - nothing would have changed. Other than more great music from Hendrix for a short while of course. We would have watched him take on progressive rock, jazz/rock, funk, and fusion throughout the mid 70s. And then the wheels would have come off. Desperate attempts to stay relevant in the public eye - he would have tried AOR, Disco, New Wave, and finally bad 80s pop. Once all that failed (and later tagged with a series of 2.5 to 2.75 ratings on RYM) he probably would done some instrumental guitar rock, and possibly even caught a commercial break like Santana. Finally crawling into the 2000's, the rediscovery awaits, and he sells out stadiums of 75,000 or more. While at the water cooler, the sales guy, all dressed up in his blue suit and tie brags to his co-workers "Guess what I did this weekend? I flew to London and saw Hendrix live". "Oh wowww", everyone coos. "That's soooo cool" says all the IT workers surrounding who have no hope to see Hendrix beyond YouTube.

Oh - Now Hear This - thank you Junior Marvin Hanson for giving us a reasonable facsimile of what Jimi Hendrix would have accomplished in 1973. Well done. Am I finished here? Yea, that's it.

Ownership: LP: 1973 Manticore (USA). Gatefold. Recent pickup from a store in Albuquerque (2022).

5/24/19 (new entry); 4/27/22

Wild Cherry - I Love My Music. 1978 USA

Ha - probably no one wants to admit they listen to this. Well it's here, so I did. And I feel like talking about it. It's a kind of therapy I think...

Pittsburgh's finest tighty-whiteys are your classic one hit wonder, something about white boys and funky music. But they clawed their way to that hit, having released numerous - and obscure - rock singles throughout the early 70s. When it was time for a full length album, they were wise to jump on the oncoming disco movement. Cash in!

I Love My Music is Wild Cherry's 3rd full length album. How about that cover, eh? Gee, I wonder when this was released? I think Bob Guccione designed it. So I got my platform shoes and top hat on, and was ready to boogie-woogie. If only it were a disco album. On this point, Wild Cherry are pretty good actually. But those blue-eyed soul moments. Whooo... man, that's rough going there. As with a lot of disco albums, the musicianship is at a higher level than ever given credit for. And here you have the Brecker brothers in tow.

Overall not so bad. No need to hide in the closet while listening to it. You are liberated! Go free young man/woman/both/neither/non-binary/whatever.

There's a price to pay for getting LPs for a $1. "The first one is on me...". Checks into clinic....

LP: 1978 Epic

A.R. & Machines - AR IV. 1973 Germany

The 4th album from Achim Reichel's experimental phase is regarded by many to be his best work.  I too had it rated highest even though, oddly enough, it was the album (of the 6 classics) I was the least familiar with. It was also the last one for me to acquire, and I discuss that below.

After absorbing the album for two straight listens, I can now say with conviction that my instincts were correct. This is the one I enjoy best. It takes the same concept as AR 3, but adds a crispness, clarity, and intensity not found there. In this way it's more like Die Grune Reise, yet it's far more psychedelic, creating hypnotic patterns similar to what Gottsching would do two years later on Inventions for Electric Guitar. As I said on AR 3, Reichel's music is something one needs to immerse themselves in, and absorb, rather than seek for melodic hook lines or to sit back and await being blown away. Reichel and his band - along with his machines, namely tape decks - have created their own musical world. One that only existed with them, and never reappeared again after 1975. Essential.

Ownership: LP: 1972 Zebra. Single sleeve. Acquired at a record store in Boise, Idaho (1998). See below for more about that encounter.

CD: 2017 BMG/Tangram. As part of the 10 CD set The Art of German Psychedelic. Here are my notes for the CD box. 

Unlike the other five Reichel albums, IV had eluded me in my initial quest. AR 3 and Die Grune Reise were secured before I exited college in 1987. Echo and Erholung were both found a couple of months later, and Autovision not long after that. Though I didn't have it, I wasn't actively turning every rock over for it either (not realizing at the time how great it might be). In the fall of 1998 (still pre-ebay, at least for me), I was in a long term consulting gig at Boise State University. One evening, lacking anything else better to do (and we usually had group events, so solo nights were rare), I headed over to a record store near downtown. And there it was! Nothing else in the store of note, just AR IV for all of $5. 

10//98; 5/16/19 (new entry)

The Old Man & The Sea - 1972-75. Denmark

Denmark's The Old Man & The Sea released one killer and highly respected heavy prog album in 1972, and then disappeared... into the sea apparently. Sometime in 2003, the excellent Karma label out of the Christiana district of Copenhagen - who had been in touch with original organist Tommy Hansen (who later became more famous in the 1980s and beyond as a heavy metal producer) - released a fine set of archival material that more or less remains under the radar. I missed it initially myself, and I'm just now catching up as I picked up the CD recently.

While the debut was clearly in lockstep with the northern European trends of the early 1970s, it becomes obvious that The Old Man & The Sea were anxious to tie itself closer to the UK style. At once the album could be a hard rocker, and then this is quickly followed by an obvious love for none other than Yes. There's some extraordinary organ and guitar work throughout. The idea of a hard rocking Yes is quite welcome in my world anyway. While some of the songwriting could use improvement, the instrumental sections are almost always of the highest order. Most of the album falls into the "great" category and there are no clunkers. Two major highlights are 'The Sea of Green' which is probably the most overt of the songs emulating Yes. The other eye opener is 'The Jam' which truly sounds like an instrumental Krautrock circa 1971, and is very energetic.

The CD is interesting in that it's not presented in any kind of order. There are no dates listed per track, and the sound quality is varied but always excellent (no doubt Hansen's influence). It's not chronological, nor best sound to worst, nor most excellent tracks to worst. Which is great for the listener as it remains interesting from beginning to end. Well worth seeking out the CD for the collection.

Personal collection
CD: 2003 Karma

The CD also features a poster cover insert with a large amount of biographical data, photos, etc.... Excellent package on the whole.

Six Feet Under - In Retrospect 1969-'70. USA-New Jersey

This archival CD from New Jersey's Six Feet Under is an extraordinary document, and captures a rare time in American rock history - that of 1970, a year I've often referred to as "lost". The music featured here is something of a prototype for another "proto" (double proto!) sound that I've focused on prior. That is to say it's a forceful heavy psychedelic, just beginning to border the progressive rock movement sweeping Europe at the time. Like 99% of the underground US bands before them during this era, Six Feet Under's dreams of grandeur were met with disappointment and off to the workforce they went. But few left so much great music on tape for posterity.

Personally I consider the "Studio Recordings" as the album proper and the other 11 tracks as bonus. Highlights include 'Freedom', 'What Would You Do?', 'Inspiration in My Head', 'Baby I Want to Love You', and 'Running Around in the Sun'. All feature the strong vocals of Nanette DeLaune, with blistering guitar from Scott Julian, and the inspiring keyboards of band leader Jerry Dobb. These are all well written tracks, and feature the kind of hooks that get notice. Certainly the Jefferson Airplane were an influence, but this is considerably heavier than that connotation may imply. I think the band Six Feet Under resemble the most is the Florida based Fantasy, a band from the same era that made the list above.

"The Home Recordings", while not up to the same standard as the studio, are still quite enjoyable. I'm not a big fan of CCR, but their rendition of 'Suzy Q' (actually a 50's hit, but CCR made it that much more famous) is excellent, with some fine fuzz guitar soloing to close it off. 'In-A-Gadda-Da-Vida' is a straight cover (minus the excess), and is interesting but does not transcend the original. As for the "Bonus Tracks", yea they're just that. Certainly worthy of inclusion but should not detract from the overall experience.

One interesting tidbit - their original drummer (deemed "not good enough" by their original label) went on to sit behind the kit for none other than Bon Jovi. Ha - take that!

In a nutshell - a super archival release, one not to be missed for fans of heavy psychedelic and the embryonic stages of progressive rock.

Ownership: CD: 1998 Arf! Arf!. Excellent package with full liner notes from Jerry Dobb, photos, memorabilia, etc...

5/16/19 (new entry)

Nuova Idea - Clowns. 1973 Italy

Clowns is the 3rd album from Genoa's Nuova Idea. The previous effort Mr E. Jones demonstrated a band in transition going from a beat/pop group to that of progressive rock. By Clowns, Nuova Idea were very much playing the music that was in vogue at the time - that of a full-on progressive rock album. For the time and place, it's not an extraordinary work, but it's most certainly representative. Straight down the middle 1973 Italian prog is going to deliver quality results, and Clowns is no exception.

Much is made of newcomer Ricky Belloni's voice. To be honest, most Italian progressive rock vocalists are either histrionic or gravelly to begin with. Rare is the smooth voice as found from Le Orme, Celeste, or PFM. I know many folks who turn their back on Italian progressive rock in general, only because they cannot understand the lyrics. "Needs to be in English!" they plead. I can't understand Italian either, but just like opera, the voice then becomes an instrument. So from my perspective, a distinctive voice is something to seek out. At his most alarming, Belloni is no more overwrought than Roger Chapman of Family. If you can handle that, you can handle Clowns. Personally - I like them!

Ownership: LP: 1973 Ariston. Gatefold with bizarre orgy/clown artwork. Online acquisition for all of $2 in 2004. A total fluke and a mintish copy too. 

I also once had the Mellow CD, but it offered nothing else, so decided to move it out.

2003; 11//04; 5/16/19 (new entry)