The Free Design - Kites are Fun. 1967 USA-New York

I absolutely adore soft pop like this (with psych harmonies and overtones). This contains an unbelievable innocence that is hard to recreate when you're damaged goods. This is the real thing! They're singing about kites for crying out loud! And wait until you hear the tune they crafted about their 8 year old brother Woody, playing football, climbing trees, and his sundry goofs. If the sun isn't shining in your room after listening to this album, it's time to exorcise your death metal collection.

Ownership: LP: 1967 Project 3. Wonderful thick colorful gatefold, typical of the label. Online acquisition (2009)

CD: 2003 Light in the Attic. Chockful of liner notes, vintage photos, and two bonus tracks. This was my introduction to the album (2005).

12//05; 2009; 9/25/21 (new entry)

Spectral Incursion - Anthology. 1986-2010. USA-Massachusetts

And the hits keep on coming. Add Boston's Spectral Incursion to the ever growing list of unknown late 80s American metal bands that were pushing the creative envelope beyond its wildest dreams. Originally known as Graven Image, Anthology captures every song the band ever released + unreleased demos and newly recorded material. Like Slauter Xstroyes, the music is not particularly heavy, but it certainly belongs to metal. And the songwriting is as random and nutty as the aforementioned SX. In fact, I think their earlier material when they were still Graven Image may have been their peak, at least in terms of creativity. But by 1991, the band were clearly a honed in professional unit. It's a tragedy they never could get past the private cassette stage. If tech thrash, or what we used to call technical metal, is your bag then Spectral Incursion is an easy recommendation. File along with first album Sieges Even, Watchtower, and the rest of them.

Ownership: CD: 2011 Stormspell. Recent online acquisition. Great 2 CD set chock full of liner notes and music you aren't going to find anywhere else. Originally released as a numbered edition of 500 copies, the label apparently went for a repress, as my copy is not numbered, nor is there space to place a number. As such, the CD is still readily available. I can't imagine that always being the case, so grab it while you can.

Kumm - Moonsweat March. 2000 Romania

Certainly one of the more interesting albums I've heard in some time, Kumm combines neo psych, indie, and progressive rock seamlessly. Their sound is distinctly of an earlier era, and that's where the allure lies here. It's an impeccably recorded album, and there's plenty of vintage gear to savor. I'm not an indie rock fan, and I have to admit that's where they get a couple of demerits here. The style mostly shows up in the vocal sections (all sung in English BTW) which aren't overly prominent. When learning of their heritage, the story become clear - one of their earlier incarnations was Talitha Qumi, which was one of my favorite new discoveries of the last decade. Had Kumm stayed out of the era from which they came, this too would have been a near masterpiece. As it stands, still very much worthy of ownership, given its unique style.

Ownership: CD: 2010 Soft Records. The CD is housed in a fine mini-LP package. This is the second press and includes one short bonus track.

Frumpy - By the Way. 1973 Germany

When I first bought Frumpy's 3rd album in the 1980s, I had little use for it. That opener alone is for the dogs. It's obvious at this point, Inga Rumpf would just assume to be Janis Joplin. And the rest of the band is not to be found. I sold the LP off back then, and hadn't thought about it again until last night. Ah, but the title track takes us back to Frumpy 2, and the band are firing on all cylinders again. Welcome back Jean-Jacques Kravetz (organ) and Rainier Baumann (guitar). It's these long flights of instrumental jams that makes Krautrock such a compelling genre. Songwriting will never be Frumpy's strength, but they certainly knew how to rock. This album sounds much better to me now, and definitely going to hold onto it for awhile.

Ownership: 1973 Billingsgate (USA). This was part of the same buy as mentioned in the LP Commodity 2.49 post. I must be the only person who looks deep into the bins here, because no way anyone should miss this title (especially at $3). Billingsgate was such a weird label. Located in Chicago, their entire catalog was based on the growing Krautrock movement. They were about 30 years too early, as I don't think your common American audience was that enamored yet with the scene. Their best selling group was Lucifer's Friend, but otherwise the sales just weren't there, and two years later they were gone. But one has to admire the sheer audacity of releasing the music they did. And even their slogan included "ass kickin'". That was racy stuff for 1973, at least here in the States. I'm sure many here in America will credit the label for introducing them to today's legends, such as Neu, Scorpions, Epitaph, and the two groups above. What's also interesting is that their inner sleeve advertised three other groups they were to release: Guru Guru, Jane, and Elias. My guess is they would have released the self titled Guru Guru album and Jane's Together. And who is Elias? Most assuredly that would be Grobschnitt, as that's how they were known back then (Elias Grobschnitt). The first album or Ballermann maybe? Too bad the label wasn't around in 1971, as the choices would have been endless.

Sebastian Hardie / Windchase / Mario Millo ~ Australia

Windchase - Symphinity (1977)

Symphinity is an album of great inspiration. And it never fails to do that for me, after nearly 30 years of familiarity. As with any of our favorites, there's usually a time and place aspect where the music had a profound impact that lasts for a lifetime. In my case, it came via a listen in early 1993, in a particularly low moment. Symphinity brought me back to my usual enthusiastic state. As I tell people sometimes, my therapy sessions exist inside my album collection. No need for outside counsel.

Right from the beginning, it's clear that Mario Millo finds his own inspiration with a one Carlos Santana. Opener 'Horsemen to Symphinity' is one big goosebump moment. Just a gorgeous piece of music. And it never lets up from there. Windchase is more fusion oriented than the laid back symphonic of Sebastian Hardie, and it's that extra energy that propels the band to its greatest heights. Of course, Yes remains a major influence with Windchase. So if the idea of Santana's Lotus meeting Yes' Fragile sounds good to you, then Symphinity is an easy recommendation.

And while here, let's address the elephant in the room: 'Glad to Be Alive'. This has to be one of the most polarizing tracks in all of progdom. With just about anyone else, the song would have to be characterized as saccharine pandering to the masses. But Mario Millo is as authentic as they come, and he wears his emotions on his sleeve. And through his music. If we could put aside our cynicism for a moment, then the beauty and powerful message of the song comes through. Even if you can't bear the chorus, it's still mostly an instrumental track of great invention. For me, it's just one more example of why I find the album so inspirational. 

Ownership: 

1977 Infinity (LP) Gatefold. Acquired in 1993.

2011 Belle Antique (CD). Papersleeve. Contains one bonus track, a live version of 'Horsemen to Symphinity', recorded in 1998. It's an excellent rendition though it does contain a needless (and mercifully short) drum solo. Acquired in 2011.

2//93; 11/21/11; 3/5/12; 8/26/21 (review)

Sebastian Hardie - Windchase (1976)

Windchase is the middle album between Four Moments and Symphinity, and has always been my least favorite of the three. Which is not the same thing as saying it's not any good. It most certainly is great actually, but less dynamic than the bookends. No one could craft a sentimental melody like Mario Millo, and Windchase is the perfect album to wind down a hard day with a glass of wine and a moment of fond reflection. It's truly beautiful music within a progressive rock context. The band was - and remains - a hidden treasure.

Ownership: 1976 Polydor (LP). Acquired in 1991.

1991; 2/23/12; 7/21/19 (review); 8/1/23

Mario Millo - Epic III (1979)

Mario Millo's first true solo album, Epic III, is largely a continuation of where he'd left off with his previous endeavors, namely Sebastian Hardie and Windchase. Like with most solo albums of the 70s and 80s, Millo goes boldly forth with a selection of assorted styles and genres, to explore various aspects of his muse.

Depending on the format in which you first hear this album, you probably will come away with a different impression. In my estimation, listening to it in the order as presented on the original LP is preferable. The Musea CD however "front loads" what would appear to be the ear grabbing prog epic as it were, that of the title track. It's either that, or they were trying to mask the album's true opener 'Life in Our Hands'. For anyone who enjoyed Sebastian Hardie or Windchase, 'Life in Our Hands' is not an egregious opener, but rather one direction Millo has always pursued. As I wrote in my Four Moments notes, Millo is a true romantic at heart, so it comes as no surprise to hear an AOR styled number opening the album. But this is Millo after all, and so it's definitely "proggy AOR". Had this been heard by record executives in America in 1979 - and most assuredly it was not - then I could see it obtaining well earned radio play at the time. 'Mary's Theme' is yet another Millo avenue - that of jazz fusion. It's a fine instrumental, calling out his Camel influence, but I also hear Nova in this track (minus the sax). 'Quest Theme' is a different pursuit, more classically influenced with acoustic guitar and flute, but not folky at all, and is a style one might hear in late 70s Spain for example. 'Harlequin and Columbine', however, is best skipped over. Sounding like a Broadway play interlude, it's the kind of music one would hear in the dead-zone mid hour of a 70s variety show like the Carol Burnett Show. Cornball and a waste of time really. 'Castaway' gets things back on the rails, and is yet another departure for Millo. This is the only true solo track, yet Millo plays many instruments including drums. To my ears it sounds like what the French were doing in this era - a type of funky jazz electronic prog - something akin to Georges Grunblatt or Patrick Vian perhaps. 'Sogno d'Amore' brings back the lineup of 'Mary's Theme' and is similarly very good.

That gets us to the album's closer (or opener haha), the lengthy title track. To me, it's as if Millo consolidated all the ideas of the above tracks into a multi-part suite. This is why I feel it's more effective as a closer. That is to say it works best as a summary rather than as a table of contents.

The CD includes an additional track 'Rebecca' (sister of Rosanna per chance? See Four Moments...), and is yet another fine song in the Windchase tradition. Overall... an excellent album.

Ownership: 1979 Polydor (LP). Gatefold. Acquired in 2000.

2000; 11/9/18 (review)

Sebastian Hardie - Four Moments (1975)

Sebastian Hardie is one of those groups that draws polarizing opinions from those in the progressive rock community. Truth of the matter is that bandleader, guitarist, and primary composer Mario Millo is a true romantic at heart. Which instinctively rubs the male oriented and testosterone fueled prog rock fan base the wrong way. I am one of these myself, and have zero tolerance for phony baloney dainty antics, as performed by many an arena rocker looking for an easy score. And yet I adore Sebastian Hardie, especially Four Moments, which is as pure an emotional album as you will find. When people talk about lush symphonic progressive, they mean this album. For those who think 'And You and I' is the pinnacle achievement for Yes, then I assure you that Four Moments will be something you will swoon over. As if to prove they can also rock out, be sure to stick it out for the last four minutes or so, where they light the album on fire, for a truly sublime closing. Only the most hardened and grizzled out there won't find a soft spot for Four Moments.

Ownership: 

1975 Polydor (LP). Gatefold. Acquired in 1988.

2004 Polydor Japan (CD). Papersleeve gatefold. Acquired in 2004.

1988; 9//04; 3//05; 10/3/15 (review); 6/17/26

10/3/15 (new entry)

Celeste. 1976 Italy

Celeste is an album of stunning beauty. Primarily driven by acoustic guitar, flute, percussion, soft affected vocals in Italian, and absolutely slathered in mellotron, Celeste competes with Harmonium's Les Cinq Saisons for most beautiful album status. Just listening to this makes you want to sit atop an Umbrian hill town, sipping a glass of red wine while watching the world go by at the slowest possible tempo. The whole album comes across as one big soft marshmallow pillow. Extract out the most pastoral moments from Premiata Forneria Marconi, Formula 3, and Era di Acquario, and you have Celeste. The sun will indeed shine again. Have faith.

Ownership: LP: 1976 Grog. Gatefold. Yet another album I found at VVV in Dallas in early 1988. My Italian prog education came fast and furious. The packaging is like the musical contents - simple, but effective. All white gatefold cover with lyrics inside the cover and some pencil sketching. 

CD: 2004 Arcangelo (Japan). Papersleeve edition. The CD replicates the original cover to the finest detail. The CD itself is made by Vinyl Magic (Italy).

1//88; 8/26/21 (new entry)

Jumbo ~ Italy

Vietato ai Minori di 18 Anni? (1973)

From my vantage point, Jumbo's third effort Vietato ai Minori di 18 Anni? is the single greatest Italian prog album ever made. And that's quite a bold statement when considering the competition, but one that has held true for me going on 20+ years now. But it wasn't my initial reaction. In the late 80s, with scant few other examples, I had no reference point for Jumbo. It was beyond my grasp. Oh make no mistake, I knew I had something special, and treasured the LP even back then - but it would continue to grow leaps and bounds in my mind. I've written quite a bit about albums such as Semiramis, Alphataurus, and Il Balletto di Bronzo's Ys in the past - even Jumbo's DNA - and they all have that unidentifiable something that makes the Italian early 70s scene so special. There's a randomness to it, yet it's cohesive, dynamic, and heavy. 

Right from the get, 'Specchio' is designed to make you feel uncomfortable. No one could sing like Alvaro Fella. He's an old folk busker who breaks out into yelling fits when he feels like it. His voice has the classic gravel tone many Italian vocalists possessed back then. 'Come Vorrei Essere Uguale A Te' is the jaw dropper here. It's as heavy as any rock piece from the early 70s, while it goes into 100 different directions. A real head twirler if there ever was one - like Sabbath playing the music of Semiramis. And it has the single best use of trombone in recorded rock history. The word gravitas comes to mind. 'Il Ritorno Del Signor K.' is a fun short sendup of the DNA album. This leads to 'Via Larga' which is classic Jumbo. Starts off in pastoral folk mode, something like Formula 3's La Grande Casa, only for Fella to break off into the punk rock field by throwing a tantrum. 'Gil' opens side 2, and we're off into druggy lala land, with Battiato's VCS3 buzzing about. And Asian tabla's and other foreign percussion to add an exotic vibe. 'Vangelo!' goes deep into the Twilight Zone and combines all of the above. As does the final two tracks. The ideas are endless here, and multiple close listens will reveal a different album each time. It's a mindblowing album to the nth degree, but it does require deep study.

As noted in my top 25 Most Important LPs (see page listing above), this album is very special to me. Once again, it's a time and place discovery. As noted in Il Balletto di Bronzo's Ys entry, Italian prog was still a new dimension for me. One month after that event, I had made the decision to visit every single record store in Dallas. Whether it was in a southern hardcore ghetto, or in a far reaching suburb, I was going no matter what. One of those stores was called VVV, which was right smack dab in the heart of the gay part of Dallas. But I was determined, and off I went for the first visit. What I found when I walked in is exactly what was expected - disco 12" singles, lots of 80s music, and records for the local populace. Then I wandered into the back room. And there, in a lonely bin, was a full selection of brand new sealed imports. Apparently a store in Wichita Falls (NW of Dallas) had gone bankrupt many years ago, and they ended up buying out some of their inventory. It was a goldmine, but I didn't really know what the hell I was doing yet. And I could afford only so much each visit (and I was unemployed - great combo!). Fortunately no one, and I mean no one, went to this store. Prog collectors I mean of course. So I was able to go back many times and continue to research and buy items. There was no internet, so I had to call some folks on the phone. Of all the great finds from that store, Vietato ai Minori di 18 Anni? is the crown jewel. 

Ownership: 

1973 Philips (LP). Comes in a thick textured gatefold with a lyric inner sleeve. Acquired in 1988.

2001 Philips Japan (CD). Papersleeve edition that replicates the LP to the finest detail. Acquired in 2003.

3/88; 2003; 8/22/21 (review)

DNA (1972)

DNA is the second album from Milan's Jumbo, and shows an incredible trajectory from the raw blues rock of the debut. Though as I mentioned on my review there, the songwriting is similar in naked form - but now it's all dressed up and ready to go out for the evening.

For my lira, there may be no better one-two punch in the vast annals of Italian prog than Jumbo, that which starts with DNA and subsequently followed by arguably the greatest of them all in Vietato ai Minori di 18 Anni?.

Jumbo are not an immediately likable band. They have none of the panache of a PFM, nor the stateliness of a Banco. As I mentioned recently in discussing Capitolo 6, Italy had far more bands duking it out in the mean streets, than those attending recitals at concert halls. And who was the meanest, gruffest, toughest of them all? Jumbo. And who is Jumbo? Well literally it's singer Alvaro Fella, and it's his nickname. He is, in fact, what makes Jumbo... Jumbo. Both in name and in spirit. Take him out of the mix and you have a highly performing instrumental Italian progressive rock unit. Put him in, and the band skyrockets to the top of the game. He is the band's secret sauce as it were. Buy into his passion and style, and Jumbo are a 5 star band. But if just scanning albums as quickly as possible to get your ratings total up so you can make some fanciful list made by strangers you will never meet, and be rewarded with... what? Who knows. Well, son, you're missing out on the whole point.  Buy an album like DNA and sit with it for awhile. Get to know it. And watch an epiphany unfold.

One of the common criticisms DNA receives is that the opening 20 minute track is great and then it falters from there. I agree with this in principle, though on close inspection, the problem has more to do with album placement than quality of material. The opening track of the album should have been 'Miss Rand', a playful beginning with a romping guitar / organ run, and what then introduces our main protagonist as he strums the acoustic guitar and growls out the lyrics while Dario Guidotti hoots on the harmonica. Guidotti incidentally is one of the key ingredients to Jumbo's sound. His haunting harmonica is only bettered by his fantastic staccato flute work - always a hallmark of a good Italian prog band. The other hero is guitarist Daniele Bianchini, whose raw electric guitars match Fella's vocal expression perfectly.

The second track should have been 'Hai Visto...', a fine jazzy number with excellent Hammond and piano from Sergio Conte. And Guidotti's flute of course. Closing off Side 1 should be 'È Brutto Sentirsi Vecchi', a more introspective piece that lulls one into a false sense of security. It's the perfect preparation for 'Suite per il Signor K'. Now the listener is ready for what is to come. Honestly as an opening piece it's too much, too fast. Basically you've already had your hard liquor, and asked to drink beer for the rest of the evening. So the album is backwards from what it should be. Program your CD as above, and see what happens. Suffice to say 'Suite per il Signor K' is one of the all-time greats, and a bold statement for any genre, any time. Not much more to write here other than.

Masterpiece.

I also highly recommend you all seek out a YouTube video of Jumbo from this era. Titled 'Miss Rand', it's a combo of said track plus some parts of Signor K. Interesting to note that the video is in color - and it comes from RTV in Slovenia (former Yugoslavia) (?!). The music is straight from the album, and the video shows the band on sailboats and later in a summer field. The lip syncing and playing is way off (and there are no plugs for their guitars.). It's all pretty silly, and it demonstrates that Jumbo were still young men having fun rather than an intensely serious bunch. Really captures the essence of the era. I love it.

Ownership: 

1972 Philips (LP). Textured gatefold with lyric insert. Acquired in 1999.

2001 Philips Japan (CD). Papersleeve gatefold. Acquired in 2005.

First copy: 1992 Philips / Mellow (CD). Acquired in 1992. 

1992; 6//05; 3/8/10; 3/7/19 (review)

Jumbo (1972)

Hard to imagine two albums more different than Jumbo's debut and Vietato Ai Minori Di 18 Anni?, all only in the span of two years. This is blues rock - harmonica (mainly the first track) and all the trappings. Though there is plenty of great guitar (heavy at times) and organ leads as well. And hand drums and flute go a long way to making this a pleasurable experience. Listening closely, what’s on display here is the basis for any Jumbo track. Consider that the varied instrumentation and wild experimentation going on by the time of Vietato Ai Minori Di 18 Anni? are so much more elaborate, it’s hard to imagine that after a complete strip search, they are in reality simple blues numbers in disguise. And then there’s Alvaro Fella himself, maybe the greatest of all Italian singers in terms of raw expression. Oh sure, Leone wins the drama queen award and Giacomo gives Pavarotti a run… but Fella resonates with what’s on the street... man. He’s the ghetto brother of Milan! I can only recommend to those that worship at the Jumbo altar, otherwise you’re gonna get strange looks. Me? I like it.

Ownership: 2004 Philips Japan (CD). Papersleeve. Acquired in 2005.

6//05 (review)

8/10/17 (new entry)

2021 Hard Rock Journal Vol. 1 - Complete

Aerosmith - Draw the Line. 1977 Columbia (MC). Thrift shop find (Aug). Draw the Line was a much anticipated album in its day - sold like hotcakes early on - and then after most everyone had a chance to hear it - it was considered a major flop. Much ink has been spilled to explain that the band were on a steady diet of hookers and blow, that they were exhausted from non stop touring, they couldn't stand the sight of each other, and the record executives were relentless in their pursuit of profit. Therefore, Draw the Line was a muddled mess of stitched together ideas and no melodies to speak of. Essentially this was the end of Aerosmith until their remarkable comeback in the mid to late 80s (commercially speaking of course...). So everything I said above is likely to be true, and has been verified by everyone including the band. So what's interesting is to see modern reviewers kind of scratch their head and state - sounds good to me, very much like Aerosmith! They're not wrong, so why the disconnect? Because real time, Aerosmith were still completely living in the past. They hadn't modernized or changed their sound one iota. Even the Stones and the Who had moved on to new greener pastures. Aerosmith were just doing their blues and party rock thing, oblivious to the world around them. In retrospect, that's considered a good trait. Staying true to your roots and not chasing new trends to somehow remain relevant to a younger audience. It wasn't a carefully thought out decision, but the results are more or less the same. As with any Aerosmith album, they managed some good cuts, and some boring ones. They were never the greatest of songwriters to begin with. And there's plenty hear to savor: 'Kings and Queens' is one of their best tracks period; 'Critical Mass' and the title track are also fine. But some 45 years later, the bad rep lingers on. But over time, it will continue to even out.

Molly Hatchet - Flirtin' With Disaster. 1979 Epic (LP). 50 cents at Independent (Aug). They say you can't judge a book by its cover, and I counter that you usually can. But in this case, the cover has no bearing on the music whatsoever. What a waste of a Frazetta painting. And at the tender age of 14, I fell for it. I read about a band called Molly Hatchet (likely in Rolling Stone) with three guitars, and saw that cover, and bought the album sound unheard. I didn't like it all back then and couldn't get rid of it fast enough. Times have changed, my horizons have broadened, so most assuredly I will view this album in a better light, right? Wrong. I like it even less now. I'm more than fine with a southern rock album, but this is really boogie rock. A couple of decent hard rockers, but the rest of this is whiskey swilling music. The cover implies epic metal. The music is closer to The Doobie Brothers or Bachman-Turner Overdrive. What a disappointment really. It wasn't that long ago I heard the debut, and enjoyed it. Hmmm.

*Dust. 1973 Kama Sutra (LP) (1971). Collection revisit (Aug). I've owned this album since 1991 and in those days, I was 100% prog focused, so this album was an anomaly pickup. And, as such, it sort of has languished in the collection for all these years. I'm pretty sure I tried to sell it in the mid 90s through my old Creativity and Chaos lists (for $5!), but there was no market back then. There is now, that's for sure. Music like this has transcended time. As I stated on the Montrose notes, it was pretty rare to find ballsy hard rock from the States during this era. But most groups still had a base in the blues, and that's exactly what Dust brings on their 1971 debut (this copy has a blue label, so it's a second press from two years later). For the most part it's just jammin' hard rock, with marginal tunes, bonehead sex-obsessed lyrics - and killer guitar solos. Perfect. There's one blues throwaway ('Goin' Easy') and couple of other softer pieces, though the latter are well done. And they even get a bit proggy on the near 10 minute 'On a Dry Camel'. Anyway, well known album for hard rock connoisseurs. Easy +1 listen here. 

*Uriah Heep - …Very 'eavy Very 'umble. 1970 Vertigo (Germany) (LP). Picked this up in a trade with a local collector (Jun). I'd been on the lookout for a Swirl version for some years, so it was a surprise to see it in a local friend's stash. Not exactly a commodity, as these old Vertigo's are hard to source, even the popular bands. Musically, most of you know this one. The blueprint for the Heep's sound can be found right here. Heavy organ and guitars with David Byron's excellent vocals. Some mellotron and acoustic guitar for the ballads. This version has the original 'Lucy Blues' which didn't make it onto the US release. It's the obligatory 1970 UK blues track, and is the weakest on the album IMO, so Mercury had the right idea by replacing it. This replaces the basic CD I have.

*Tony Joe White - ...Continued. 1969 Monument (LP). Same garage sale as below (May). It wasn't that long ago that I learned of the term swamp rock. It was applied to those Louisiana imposters Creedence Clearwater Revival. I just figured it was a regional term, because CCR isn't anything musically special in my world. Tony Joe White, now this guy is swamp rock. The record went on at 150 grams and came off at 300 - filled with moss and seaweed and mud. I had to wash up after hearing this album. A thick wedgy wah wah guitar, Hammond organ, pounding drums, and White's soulful vocals sounding like Elvis on Quaaludes is a new sound for me. The music is rooted in country blues - with a side of absinthe. It's heavy rock, but in its own way. And look at that guy, is he cool or what? This is the grimiest album in my collection. A must own, obviously.

*Tony Joe White - Tony Joe. 1970 Monument (LP) Garage sale find (May). A most creative man with no imagination for album titles (his next one is brilliantly called Tony Joe White). This album starts off as ...Continued ended. Right back into the mud we go. Overall the album does feel more self-conscious that White now seems to understand what his signature sound is all about. There's a bit of "gather round the campfire and let Uncle Tony Joe tell ya about a little lady down in New 'Awlins...". All the same, there's plenty of sludge to bathe in here, and it rates out about the same. What a great find, this Tony Joe White is.

Steppenwolf - For Ladies Only. 1971 Dunhill (LP). Thrift shop find (May). I know surprising little about Steppenwolf. Like everyone else, I really enjoy 'Born to Be Wild', arguably the genesis of heavy metal music. But mostly what I've heard is a straightforward rock band, with out of tune rough vocals, typical of its era. A lot of bar and boogie, and not a lot of invention. The late-era For Ladies Only LP fits that description - unfortunately. There are a few good moments here, just enough to take it to an average rating. I'll still pickup the others as I see them. As for the packaging, the less I say about the inner gatefold (and insert), the better. Jeez.

*Grand Funk Railroad - We're an American Band. 1973 Capitol. Yellow vinyl (LP). One of the odd albums out in the funk-soul estate sale (Apr). I guess the band does have funk in the name after all... I thought GFR had already jumped the shark by this point, as the title track is fairly ubiquitous here in the States, and somewhat annoying. But I was surprised to learn that I'd never heard anything else off this album. And it's mostly aces too. The addition of Hammond organ is exactly what the band needed at this point. There's no wild jams as in the past, but the songwriting has improved and there's some great instrumental guitar as well. Easy keeper.

AC/DC - Back in Black. 2003 Epic (CD). Same as below (Mar). If pressed to name my favorite album by AC/DC, it would likely be Back in Black (1980). Which isn't the same thing as stating I think it's great or anything. Just that it's probably their most accomplished. This is the album that introduces Brian Johnson as the lead singer replacing Bon Scott after his untimely death. Johnson sings in a similar manner to Scott, but he's better at it honestly. Back in Black has many hits that long time hard rockers will be familiar with. AC/DC are what they are. I don't think I'll ever find anything that's worth keeping for the collection, though I'll always keep an eye out for their LPs. As with Let There Be Rock, this is an excellent reissue released in a tri-fold digipak and informative liner notes.

AC/DC - Let There Be Rock. 2003 Epic (CD). Garage sale find (Mar). All these years later, and I still don't understand the allure of AC/DC. I don't think I ever will. When I was first getting into metal in 1979 and 1980, AC/DC were considered one of the landmark groups. Most of my peer group loved them. I have no idea why. In retrospect, AC/DC were very much a product of the Australian rock scene of the 70s. Boogie rock was the name of the game downunda, and AC/DC were a part of that movement. A bit more amped up - and certainly more energetic than most - but compared to a band like Buffalo (a group I wouldn't hear for another 20 years), AC/DC were fairly lightweight. Never could go for Bon Scott's vocals either. I find them annoying. It's been many a year since I sat still for a classic AC/DC album, and Let There Be Rock (1977) defines that status as well as any of their albums. Nothing moved the needle on this listen. I'd call it average hard rock at best. Excellent reissue BTW. Housed in a digipak with full liner notes. 

*The Five Americans - Ignert Woman / Scrooge. 1969 Abnak promo (SP). From the RT collection (Feb). I don't know anything about The Five Americans despite the fact they have a lot of recorded music. The A side is excellent hard rock with great guitar. Scrooge is a bit more groovy, with piano and sax. Still a pleasant period piece. Yellow vinyl. You'd think something like this would be rare, but it isn't. 

* - Keeping for the collection

2021 Classic Rock / AOR Journal Vol. 3 - Complete

Manfred Mann's Earth Band - The Roaring Silence. 198? Warner Bros (LP). Found this two years ago at a garage sale (2019), before I was detailing these kind of discoveries. Once I made the decision to keep it, I knew this day would be coming. I just didn't know when. These were exactly the type of LPs I didn't keep 25+ years ago. But I had made some room in the collection for additions, and this was "good enough". Now it's at the bottom of the ranking. But should it be? This is a really odd album. First released in 1976 (the one I found is a tan label, so it's likely to be from the 80s), I remember hearing 'Blinded by the Light' back then, and thinking it was a really cool track. I still do - such a bizarre song to begin with considering its swirling organ and synthesizers, and crazy vocals. I've not heard Bruce Springsteen's debut album, but Mann mined it for two megahits - the other being 'Spirit of the Night' which was appended to later editions of this album (like mine). But what of the rest? 'Singing the Dolphin' (a song by Mike Heron) seems to be Mann trying to channel Camel, and failing miserably. What a dull song. Contrarily, 'Waiter, There's a Yawn in My Ear' is a killer instrumental prog track, something I would have been happy to get a whole album of. Side 2 is more mixed, but still brings the goods like 'The Road to Babylon' and 'Questions'. A very good album but ultimately I decided to let it go. (Aug)

Ambrosia - Life Beyond LA. 1978 Warner Bros (LP). Another one of those anomalies in the RT collection (Jul). Ambrosia are practically the definition of what we now call Yacht Rock. A sophisticated style of pop designed for the wealthy in-crowd. No sweat and dirt allowed here. Ambrosia's background is one of a prog band, so they do bring the instrumentation and production qualities with them - along with a middling set of FM/AM radio tunes. The big hit here is 'How Much I Feel', which you will instantly recognize once you hear it. It has creepy machismo lyrics into the bargain. I don't feel like typing them out, but find the last stanzas... Good for what it is, but this was too deep in the catalog for me. 

Charlie - Lines. 1978 Janus (LP). Thrift shop find (Jul), different one than the other two. I've been looking for some Charlie in the thrift bins since I started this. Mainly the 70s variety. When I do find them, they are trashed, so it was nice to see a minty copy last week. Charlie were one of the early bands I was first exposed to when listening to FM radio in the mid to late 70s as a preteen. I remember some of their music having cool riffs, though obviously not enough to pursue buying a full LP. Whatever the case, this album is devoid of anything hard rocking. This is pure unadulterated FM soft pop rock. AOR at its most obvious and pandering. A couple of decent cuts for sure, but I was disappointed. I recall none of this. I'll try their first two albums as well (when I find them), curious what I had heard from my youth. I do like the model on the cover, though. This gal, whoever she is, represented the sexy female ideal of the late 70s.

Slade - Nobody's Fool. 1976 Warner Bros (LP). With the Stones albums above (Jul). Slade are one of those bands that I've heard all of my life but never actually heard, if that makes sense. Meaning, I know some of their songs, but never bothered to hear a full album. Quiet Riot may have had something to do with that... Were Slade just a hard rock band, this would have been more enjoyable. For that style they are reasonably accomplished. But they were a glam band in the end, and they mix in other genres (like 50s rock n roll). They have their audience, and they play to it. That audience does not include me. Average on the whole. 

The Who - Who Are You. 1978 MCA (Canada) (LP). From an estate sale (Jul). It's been forever and a day since I heard Who Are You. I'm thinking 40+ years ago. Inexplicably I still appended a rating of "good" on it (I do not usually rate albums that I haven't heard since college or before). Well, it was a pretty accurate assessment, though I'd say I was being a bit generous. I hear this album as average at best, typical of the UK mega stadium bands of their era. The title track being the most recognizable song, and frankly, the best of them. 

***The following were all from the same thrift shop find (Jul)

Van Morrison - Moondance. 198? Warner Bros. (1970) (LP). 80s reissue (has the bar code) of Van Morrison's 3rd album from 1970. The only track I recognized was the title song, which I've always enjoyed. Has an odd lounge angle I find appealing. The rest? I just don't get it. But I don't get Bob Dylan either. I find his voice somewhat irritating and the music dull. This is considered one of his landmark works, so clearly it is I who remains in the dark. Others in my shoes would no doubt call it overrated or hyped, but that's awfully self-absorbed. No it's not overrated. It's that I disagree with the popular opinion on this title (and artist likely).

Electric Light Orchestra - Out of the Blue. 1977 Jet / United Artists (2xLP). Out of the Blue was yet another mega seller when I was first getting into FM radio in 1977. I didn't think much of it back then... and I still don't. A sprawling double LP that sounds like a mutant baby of Queen and Supertramp, with the Beatles somewhere in the DNA hierarchy. This weird strain of late 70s British AOR music that inexplicably was more popular here than in their homeland. A couple of good songs, but this one isn't for me. I'll hear every ELO as they come to me, but so far I'm not finding myself enjoying any of them.

Dire Straits - Brothers in Arms. 1985 Warner Bros (LP). Their most famous album, Brothers in Arms is actually Dire Straits' 5th release. I've never really understood the appeal of this group, though one could state they were the antithesis of the outrageous New Wave and Hair Metal bands that were proliferating at the time. How 'bout some good old fashioned unassuming rock? It's certainly inoffensive enough with no real highs to call out. A Dave Matthews Band of their day. Kind of blows by without notice, though of course I recognize all the megahits here that have been inculcated into our collective brains. 

***end of sale

* - Keeping for the collection

The Collectors. 1968 Canada

One of the stranger albums from the psychedelic world, Vancouver's The Collectors proves that major labels were willing to pull out all the stops to attract an ever mind-expanding audience. This is haunting, trippy song based psychedelia at its best. Wonderful fuzz, vintage organ, flute, and mournful vocals. The highlight has to be 'Howard Christman's Older', which features some of the craziest lyrics you'll ever hear from the 60s. One even wonders how a group could compose such an odd song? The only downside is that the side long track 'What Love (Suite)' is way too long for what it offers. And the experimentation here is almost too much. It's as if they are trying too hard to shock, when they already managed to do that successfully on the other side. Albeit, in a much more subtle way. Certainly The Doors are an inspiration for a lot of this album, though it trips out from there. Had they cut the side longer in half, and added one or two more tracks, this would have been in the monster territory. As it stands, we'll call it excellent.

Ownership: LP: 1968 Warner Bros-Seven Arts (USA). Online acquisition from 2014. Single sleeve cover with really cool, San Francisco psychedelic-era artwork. This had fallen to the bottom of the weedout stack. Obviously I missed the sublime nuance here. This is going nowhere. Nice originals can still be had for cheap. It must have sold well, as there are many pressings. CDs are more scarce.

Crypt Sermon ~ USA ~ Philadelphia, Pennsylvania

The Ruins of Fading Light (2019)

The Ruins of Fading Light is the second release from Crypt Sermon and is a natural follow-up to the debut. From the Out of the Garden review, here are some thoughts about Crypt Sermon: "When I first saw the LP, I asked the record store owner what kind of music it was, and that cinched it for me. It reminded me of first discovering Manilla Road's Crystal Logic in 1983 - no way a cover like that would house anything but an interesting record. And I was rewarded with a fine album in the doom metal space. I'm not too keen on the funereal side of the genre and prefer some crunchy mid paced riffing, and that's precisely what Out of the Garden provides. Vocals are more matter-of-fact than the operatic Candlemass style, but otherwise the comparison holds true." How about that? If this is a genre that interests you, then Philadelphia's Crypt Sermon is an easy recommendation.

I've noticed that RYM has added a new genre, one they call Epic Doom Metal, named naturally enough after Candlemass. I agree with this designation, as I've always felt that Candlemass and their ilk were closer tied to the Manilla Road and Cirith Ungol's of this world than those that strictly adhere to the formulaic slow paced doom metal doctrine.

Ownership: 2019 Dark Descent (2xLP). Three sides of music. Gatefold with lyrics and recording details. Poster insert. 

7/28/21 (review)

Out of the Garden (2015)

Sometime in 1989, while standing in line at the grocery store, my eyes fixated on a new novel called Foucault's Pendulum by the Italian author Umberto Eco, who I was unfamiliar with even though he already had a best seller with Name of the Rose. I've never been a book-of-the-week kind of guy, but the premise was highly intriguing. And it introduced me to the world of Medieval secret orders, namely The Knights Templar, a topic I continue to be fascinated by. I find it humorous that I was introduced to such a weighty topic in the Tom Thumb grocery store line. Right next to The National Enquirer and packs of gum.

Not long prior to this discovery, I had also been introduced to a new metal band from Sweden called Candlemass. They played in a style called "doom metal", and it seemed to be a direct response to the era's preferred fast approach including speed metal and thrash. Calling upon classic Black Sabbath, but with a modern sense of heaviness and lyrical content, Candlemass blew the dust off of the 70s in a most exciting way.

Crypt Sermon is the combination of those two late 80s personal discoveries. When I first saw the LP, I asked the record store owner what kind of music it was, and that cinched it for me. It reminded me of first discovering Manilla Road's Crystal Logic in 1983 - no way a cover like that would house anything but an interesting record. And I was rewarded with a fine album in the doom metal space. I'm not too keen on the funereal side of the genre and prefer some crunchy mid paced riffing, and that's precisely what Out of the Garden provides. Vocals are more matter-of-fact than the operatic Candlemass style, but otherwise the comparison holds true. If any of what I said above resonates, you'll want to grab this one.

Ownership: 2019 Dark Descent (LP). Silver vinyl. Insert with Medieval paintings. 

11/17/20 (review)

Dark Descent is based in my current hometown of Colorado Springs, and the record store that Purple Peak Records partners with (What's Left Records) also works directly with the label. 

11/17/20 (new entry)

Oh Sees - Smote Reverser. 2018 USA-California

Up through about 1994 or 1995, I made an earnest attempt to keep up with all new progressive rock releases. Back then, new prog albums came out in a trickle from various places around the globe. And then suddenly, progressive albums were being released from all types of labels and genres, many of them unlikely sources. It became an impossible task. So I begin to focus on what I enjoyed most in the modern era, while continuing to deep dive into the 70s and early 80s. 

Oh Sees is exactly the type of band that I've missed all these years. Originally known as Thee Oh Sees, the San Francisco based group has released close to 3 dozen albums. And I'd never even heard of them. Of course they've changed their styles over the years, and based on what I've read, perhaps their earlier work would be of less interest to me.

On a side note, one of the problems with partnering with a local "hip" record store is the constant "push" for me to use my trade credit on new albums that I otherwise wouldn't consider. Why is that a problem - isn't that a good thing? Yes... and no. The exposure is great, of course I want to hear new things. But I absolutely must downsize, and there's plenty of older albums I still want to get. Remember I prefer CDs to LPs for modern music. So here's what happens: "You should check this out". 9 times out of 10, it's stoner music. I don't really like that stuff - never have. OK, there was a Kyuss stretch in the early 90s, but otherwise... And I usually get this back "You don't like anything... you just like old stuff... like you". LOL. All true, you know. But it's not that I don't like it, it's that I can't own everything under the sun. Which gets us back to the first paragraph.

But it was hard to deny Smote Reverser, as this album contains everything I like about modern progressive. It's psychedelic influenced, and the analog instrumentation is fantastic. You'd think a band that puts out as much product as Oh Sees has, wouldn't be able to bring this kind of creativity, but they certainly do here. They do a great job of laying down a complex beat followed by a jam or other progressions. In many ways I was reminded of late 90s acts such as Mushroom or Cosmic Invention. It's definitely Krautrock influenced. So yea, Can and Neu! are in this conversation. You'll also hear some Group 1850, Hawkwind, and even a little bit of Motorhead. And for another modern comparison, maybe Titan comes to mind.

It would be easy to want to explore the band's full catalog, and maybe I will. But not all at once.

Ownership: LP: 2018 Castle Face. Acquired at What's Next here in the Springs. 2 LP set cut at 45 rpm. Single sleeve cover, with colorful inners and an insert with recording details. Has a download card too. A very nice package overall. Oh, and the cover is entirely misleading. It looks like something Celtic Frost or similar would release. Not a prog like cover, that's for sure.

Peter Wale ~ South Africa

The Memoirs of Hakeford Wart (1972)

The Memoirs of Hakeford Wart is based in folk, though it definitely has an underground progressive rock edge. It reminds me of some of the private presses coming from England during this time. Flute is one of the primary instruments, and this only underscores the progressive rock angle. Also features some fine fuzz and wah wah electric guitar, and a real feeling of subversion permeates throughout. This doesn't feel like a politrock or civil protest album, but you know he's jabbin' at the man. And after this, Wale got the hell of out Dodge, and headed to South America via boat. And eventually ended up in Seattle. So overall, not a head twirler, but most certainly an excellent artifact from the time and place.

Ownership: 2019 Strawberry Rain (3xLP). Cut at 45 RPM. Features the original album plus many bonus cuts. Were it at the regular 33 speed, then it would have been a two LP set. Comes in a single box-like cover, similar to the 1980s releases of double albums. Included is an insert with full liner notes from Wale himself. Overall, an excellent package. 

No CD issues exist as of 3/29/25. This is one of those cases where the CD reissue needs to come from the LP reissue rather than the original.

2/14/2014 (first listen); 7/24/21 (review / new entry)

2021 Funk / Soul Journal Vol. 3 - Complete

***The following all came from the 10 cent bin of 45s at Independent (Jul):

Jean Knight - Do Me / Save the Last Kiss For Me. 1972 Stax (SP). 'Do Me' has a big fat beat, but is still mostly female sung soul music. The B side is even more geared that way. Average to good for the style I'd rate. Both tracks are non-LP.

Willie Hutch - Theme of Foxy Brown. 1974 Motown promo mono/stereo (SP). This is one of those promo 45s with one track, each in stereo and mono. Wah wah rhythms and soaring strings, with Hutch crooning on top. It's the Isaac Hayes / Marvin Gaye formula. Not bad, but at 2:25, you're left wanting more. There's a full album of this from the movie, and I'll have to hear it at some point.

Chakachas - African Yama (Vocal/Instrumental). 1974 Janus promo (SP). I know of this Belgian band Chakachas, but haven't heard too much beyond a sample or two. This one has a really nice groove to it, with fine wah and horns. The vocal part lives up to its African heritage, but overall it's a bit dull for repeated listening. Sounds more like incidental TV music. Both of these versions can be found on a very obscure Brazilian release known as Vendo Mango. To the best of my knowledge, despite the US single, the album was never released here domestically.

***end of sale

Dennis Coffey and The Detroit Guitar Band - Evolution. 1971 Sussex (LP). Thrift shop find (Jul). I had been tipped that this album was a strong instrumental heavy funk album with wah wah guitar. Which is mostly true, except it's not particularly heavy or overly funky. There's a three guitar attack here, and a couple of the tracks are really great. But mostly it flies by as background music. Reminds me of another obscuro I once owned from Memphis called Washrag. Good on the whole, but not necessary. 

King Errisson - The Magic Man. 1976 Westbound (LP). This was next to the above album in the thrift (Jul). And now I know why. Dennis Coffey is the guitar player! And I'm certainly not going to pass up anything on the Westbound label anyway. When the needle first hit I thought I was in for some monster funk grooves. But not so. It's more ear friendly, with some references to Errisson's Caribbean upbringing. There's some cover tracks and steel drums here and there. Good on the whole, and one for Westbound and funk deep divers, but it was all way too above the surface for me to keep. 

Thelma Houston & Pressure Cooker - I've Got the Music In Me. 1975 Sheffield Lab (LP). From Independent (Jul). Thelma Houston went on to become a soul megastar in the late 70s, but right before that, she released this one album on the well respected audiophile label Sheffield Lab. Houston sings on half the album, and mostly it's standard soul music. The other half are instrumentals by the band Pressure Cooker (who of course provide the music for Houston as well). Their tunes are wide ranging from reggae to Dixieland to jazz to horn rock. The latter track is titled after the band, and is the clear highlight. A good album on the whole, though not something I'll need to keep. Comes in a fine gatefold cover.

*Hidden Strength. 1975 United Artists (Canada) (LP). From an estate sale (Jul). I never heard of Hidden Strength before, but a quick lookup demonstrated this was sought after funk, so I definitely want to hear it. Yea, this has the right sound for sure. 'It Didn't Have to be This Way' starts off perfectly with a killer funk groove, wah wah guitar, harmony vocals, and various soloing.  And it doesn't stop from there with Robin Kenyatta guesting on flute for 'Happy Song' along with some great Moog on the dance floor 'Hustle on Up', which has two versions, one on each side. 'Angel of Love' is the only crybaby soul ballad here, and I can live without that. I can always live without those. But for the rest, yea it's supreme stuff. The album was originally released as a private pressing, with only one version of 'Hustle on Up' (and titled 'Karate' there). Comparisons to Earth Wind & Fire are compulsory, but it reminded me more of a Philly obscuro in my collection by the name of Yellow Sunshine. Speaking of origin, I had a hard time figuring that out. Best clue I have is that the private release was managed by a company in New York City, so we'll go with that for now.

*Saturday Night Fever. 1977 RSO (2xLP). From an estate sale (Jun). I forget how I first obtained this album, but it was sometime in the early 90s. It survived until my final LP purge in the mid 2000s. Most of what I was ditching then were iffy LP reissues, and I'm really glad I got rid of them. But I should have kept this one. However every time I find one, it's trashed. Sometimes it will have only one LP, or the cover has been run over by a truck or ripped in half, and the vinyl is even worse. But this copy is pristine, similar to the one I used to have. It took 2 years to find a decent copy. This album, for a lot of people, represents disco music and the years of 1977 / 78. It's really a phenomenal gathering of songs. The Bee Gees will likely be vilified for all of their remaining lives, and from those who came of age during this time (like me), but it's highly unfair. They banged in no less than FOUR platinum best sellers - and that's just the opening of the album! Every one of them is iconic. It's not easy to write songs like this, and their mastery of harmony went a long way to mega seller success. This is followed by Yvonne Elliman, whose contribution was also a major hit. Side 2 opens with Walter Murphy's Fifth of Beethoven from one year earlier, which is a heck of a lot of fun. I remember liking this song when I was 11. I still do. Tavares then does a cover of one of the Bee Gees hits on Side 1. And it was a hit too! Then we get our first David Shire instrumental. He's the true soundtrack guy, and represents "the suit" as it were. 'Manhattan Skyline' is an uplifting track. I remember playing this song in our high school marching band. For some reason I never put the two together until last night. The final track on album #1 is Ralph McDonald's lengthy 'Calypso Breakdown', which has an air of respectability, but I don't care for it personally. Shire opens disc 2 with 'Night on Disco Mountain', his homage to Murphy's Beethoven track no doubt. I'm sure they had a lot of fun with this. I like it too. 'Open Sesame' reminds me that I really need to investigate Kool & the Gang further. I never have found their albums in the wild (except for the 80s stuff), and they go for decent coin online (9/17/24 ED: Still haven't!). This is followed by two earlier Bee Gees hits 'Jive Talkin' and 'You Should be Dancing' both just as good as the '77 compositions. While I do like some KC & The Sunshine Band, I'm not a fan of 'Boogie Shoes', probably the weakest track here, and not a good representative of the group. Shire's final instrumental 'Salsation' is an excellent disco rendition of a serious dance step. After all, the movie is about dancing, and the choreography is brilliant throughout. For my tastes, the best track here is 'K-Jee' which is often forgotten about. I think its placement towards the end of the album is why no one really talks about it. MFSB *is* the Philly Sound. It's a killer track, one that could have been a funk classic too had they altered the beat a bit. And finally that leads to the 11+ minute 'Disco Inferno' by The Trammps. It's too long for sit down listening, but it's the right length if you just want to get down and boogie. Overall, Saturday Night Fever is as good as it gets for the style. For some, that style is abhorrent. But try to look past the beats and strings, and there's a lot underneath to savor. 

Paul Anka - Anka. 1974 United Artists (LP). Probably doesn't belong in this category, but there's really nowhere else to put this. Got this LP from a neighbor's collection about eight years ago (2013). Since I'm thinning the herd, this was an easy target. Like going deer hunting, but decided to shoot a cow instead. Only because it's just standing there, all fat and happy. I kept it because it has quite a bit of mellotron (think about that), and the album's first track 'Bring the Wine' has an eerie PFM feel about it. But... there's also 'One Man Woman / One Woman Man' to endure. You'd think maybe he was predicting a transgendered future. But nope, he's just another 70s sleazeball "But I'm a Two Timin' man...". Nice. And, of course, who could miss '(You're) Having My Baby'. Sooo... is that an observation, a guess, or... a command! Dammit, you're having my baby... baby. And why is You're listed as (You're). I have a lot of questions here for ol' Paulie while I watch this sail to the dollar bin. (Jun)

James Walsh Gypsy Band. 1978 RCA (LP). From an estate sale (Jun). This is the Minneapolis based Gypsy band whose first couple of albums are collectable in the hard rock world. James Walsh was one of the members, and he clearly usurped the name and logo for himself. Looking at the eight pasty *very white* looking guys on the back cover, does not indicate this will be a soul disco album. But that's mostly what it is. First couple of tracks aren't too bad, but then it becomes somewhat tedious. Side 2 is where you'll want to direct your compass. 'Gray Tears' is super, very much a throwback to the early Chicago horn rock days. Superb lead guitar and brass charts. 'My Star' is a weird little electronic rock number that recalls Stardrive of all things. Then it goes back to soul and disco. These two tracks were almost enough to have me keep this. Almost.

* - Keeping for the collection

Lite Storm ~ USA ~ Los Angeles, California

Warning (1972)

Lite Storm is a new name for me, though I was aware of their heritage, namely a one Kali Bahlu. Though band leader Johnima Wintergate was from Victoria, Canada, he relocated to Los Angeles and subsequently got caught up in the hippy movement. This is where he met his future wife Kalassu (Kali), Sui-San, and Silver. Yep - it's that kind of commune-like grouping. I had read comparisons to fellow Angelinos' Music Emporium, and that was too much to resist, so I popped for the LP reissue. And really, it's not a bad comparison. While Music Emporium were art school trained, Lite Storm provide a more earthy alternative. And Wintergate's idiosyncratic vocals only add a touch of mystery to the proceedings. He also provides some mean fuzz guitar when called for. All ten tracks are excellent, and varied including a couple of instrumentals. The music was apparently recorded in 1967 and 1968, and for that era, this is a superb historical document. It was eventually released in 1972, only as a promo. By then a complete afterthought, and the music world had moved on. So yet another great discovery from our America, a country who seemed hellbent on hiding our best talent.

Ownership: 2019 Out-sider / Guerssen (LP). With insert containing the original album advert, and a thorough recent interview from UMR's friend Klemen Breznikar (It's Psychedelic Baby). This interview provides us a full history of the band. 

No CD reissues as of 3/29/25

7/17/21 (review / new entry)

Plebb ~ Sweden

Yes It Isn't It (1979)

---12/17/13

Plebb are in essence a hard rock band with that patented twin guitar attack. They offer a smorgasbord of musical styles presenting the instrumental palette of two guitars, bass, and drums. With Yes It Isn't It you will hear reggae influenced hard rock ('Reaggie IIb'); Brilliantly intense dual guitar jamming like the Dutch group Cargo ('Push Box'); Hard rock party music ('Rockaria'); Early riffing metal with nice melodic leads ('Tankar om Natten'); Heavy rock balladry / proto Power Pop like early 80's Scorpions ('Förflutet'); Instrumental dual acoustic guitar ('Psst'); And proggy hard rock ('Fresh Fish'). Some of the lead electric guitar work presented here is truly sublime. Swedish vocals add an exotic touch, for us English speakers anyway ('Fresh Fish' is sung in English). 'Push Box', 'Fresh Fish', and 'Tankar Om Natten" are the highlights for sure. This album has grown on me over time.

---7/17/21

Those notes are pretty thorough, and I really don't have much to add at all. This is an album for hard rock fans who like variety, but aren't asking for too much. No keyboards, but the two guitarists more than make up for any lost timbres. And they have a great acidic tone as well.

Ownership: 2021 Sommor / Guerssen (LP). With four page insert including a modest history, photos, lyrics, and recording details. 

No legit CD reissues as of 12/18/25.

12/17/13 (review); 7/17/21 (acquired / update / new entry)

Blackkout - Ignorance of Man. 1989 USA-Florida

And the hits keep on coming. It continues to baffle me just how many creative American metal bands were in existence from the late 80 through to the early 90s. I was still paying attention real time for acts such as this, though I wasn't really focused on the cassette culture. And I should have been, because that's how many of these albums were released in the first place. And many used the full length, allowing them to release that much more music than an LP, or a cheaper alternative to the still-too-expensive new medium called CDs. Thank goodness for the reissue label - or in many cases - the archival labels. Many of these labels aren't even here in the States, but in Europe, especially Germany, Greece, and Italy.

As noted, the cassette tape afforded bands a chance to release a lot of music. And that certainly was the case with Ignorance of Man, where there are a whopping 17 tracks here, including a 10 minute epic closer. From what I understand, but is poorly documented, this tape itself was a compilation of the band's recorded (or written) music throughout the 1980s. While it certainly all belongs to thrash metal, there are variations in both sound and structure, that indicates the band had flourishes of progressive mindedness along with more traditional approaches. Fortunately, most of the material on Ignorance of Man is fascinating, and well worth hearing. There are a few tracks where galloping guitars and gang vocals define the music. These are pretty ordinary, and would have been for the 80s as well. But the majority have passages that we used to call technical metal. And the kicker is the instrumentation. Even though Blackkout are only a 3 piece (with dubbed guitars to make it sound like a quartet), the leader of the group brings along not only a flute, but also an electric violin! The former immediately draws comparisons to one of progressive thrash's greatest groups in Psychotic Waltz. Electric violin on top of that? That's highly unique. While I wouldn't say these instruments are predominant in any way, they do add flourish to many of the tracks. As noted, the album closes with a 10 minute epic, which is one for the ages. 'The Talisman' goes through all sorts of twists and turns, similar in some ways to Manilla Road, but more thrash oriented. All in all, a must for fans of late 80s adventurous metal.

Blackkout were from America's richest metal talent area of Tampa / St. Pete, though they weren't part of the death metal wave that the region became most famous for.  The CD also (remarkably) includes their 1985 single, which is similar in construct to the album proper.

Ownership: CD: 2010 Arkeyn Steel (Greece). Recent online acquisition. Numbered edition (mine is #584) jewel case with a full booklet containing recording details (though no specific dates), photos, and lyrics. Excellent in every way, except it's missing a history, which I think would have helped provide context.

Cerebrum - Eagle Death. 1969-70 Spain (archival)

A little over 3 years ago, while sitting in a Baltimore hotel room after dinner, and with not much else going, I decided to hit YouTube and sample some recommended heavy psych 45s. This was the beginning of my foray into the medium, that I had neglected up to that point. This ultimately lead to me buying CD comps, and actual vintage 45s. One of the earliest I sampled was Spain's Cerebrum. After hearing the Eagle Death 45, I wrote simply: "Franco had to know the gig was up when he couldn't stop this from coming out." I knew that this compilation had existed, but forgot all about it until now.

It's hard to imagine a band like Cerebrum (or Mas as they were originally known) could exist during Franco's dictatorship, though things had loosened considerably by then. Cerebrum basically plays a ferocious style of psychedelic blues. The two singles are the highlights, and represent their studio recordings from 1970. The other 5 tracks are live in the studio from 1969. The latter is more blues oriented whereas the later material is more hard rock. Heavy guitar is the key ingredient to everything here. While similar to Catalan's Maquina, it's clear that Madrid's Cerebrum was a full step ahead when it came to heaviness. But alas it wasn't meant to be. Essential pickup for fans of early European heavy psych and hard rock.

Ownership: CD: 2012 Shadoks (Germany). Recent online acquisition. Jewel case contains fat booklet with excellent liner notes in both English and Spanish, along with recording details, photos, poster slicks, and lyrics. Sound is more than fine for the time and place. Excellent all around.

Noah - Brain Suck. 1972 USA-Ohio (archival)

Brain Suck is an old CDRWL entry brought back to light. Here were my notes from back then: "Archival LP release from somewhere in Ohio, unearthed by one Al Simones, who put out a couple of freaked out psych guitar albums in the 1990s. The LP has been carefully distributed, and so its scarcity has caused the value to remain high. The kind of release that used to be the sole domain of Rockadelic Records. Fuzz guitar and organ lead the psych rock parade. Very much a product of the great Midwest, and the time and place are very apparent. Compositions stray more towards the thinking man's genre, ala Cleveland's Dragonwyck. A nice discovery, and would definitely benefit from a CD reissue."

Considering the latter, that day has finally come about. See the Ownership section for more. It was presumed back then that the music was from 1969, so the sound would have to be considered advanced for the era. Ah, but now we know it's from 1972 - which is much more in line with the times. What you get with Brain Suck is a very strong hard rock album, with an enormous amount of heavy organ and - of course - loud guitar leads. There really wasn't too much of this kind of music being released here in the States real time in 1972. Bands like Sir Lord Baltimore and Bang come to mind, though Noah has a stronger organ presence. That small town in Ohio turns out to be Salem, which is pretty close to Youngstown, one of the premier steel towns in America. The birthplace of Poobah as well. 

In addition to the full release of Brain Suck, the CD contains two unreleased tracks from the band from one year earlier that are similar in construct. And then finally, there are 6 tracks from Noah's predecessor band known as The Sound Barrier. This group did manage to get out two singles in 1967 and 1969. All 4 tracks from the 45s plus two demos from 1968 are on this CD. The music here would generally be classified as heavy psych, and are not to be missed. The '69 single represents two cover tunes and features female vocals. One can tell the band is seeking for some commercial success, but did not achieve any. Thus Noah was born. An excellent archival release, essential for fans of early 70s American hard rock.

Ownership: CD: 2021 Guerssen / Galactic Archive (Spain). Recent online acquisition. Jewel case with a full booklet containing liner notes, photos, and recording details. Guerssen continues to be a gold star reissuer. For vinyl fans, they also released the album as a 2 LP set, which appears to be the exact same. Interesting to note that the original release from 1995 turned out to be unofficial (which I didn't know until Paul Hess wrote into the CDRWL a year later). While not addressed in the liner notes, it was stated as such in the press release for this reissue. As I noted above, the supply had been carefully controlled, and therefore was prohibitively expensive. Good thing I had waited for the proper release, and it is far more comprehensive. 

12/20/09 (CDRWL)

Quintessence - Dive Deep. 1971 England

It was only some 3 years ago that I wrote about Quintessence's debut, an album that I had only been introduced to in 2014. You can read my thoughts there, but it's remarkable that Quintessence possess exactly the kind of sound I enjoy, yet I was so late to the party. I knew their second and third albums were supposed to be similar, and I secretly hoped I would find them in the wilds. After all, I do recall seeing them in the record bins in the 80s and 90s. But no such luck. Since I was happy with Repertoire's CD of In Blissful Company, I decided to cut in line and grab Dive Deep. 

Dive Deep is the 3rd Quintessence album and is very similar in construct to the debut. They have a distinct psychedelic edge, which I attribute more towards their interest in Indian music. Other than the final track, all of the music is laced with psychy guitar, flute, and percussion. They're a full 6 piece, so you don't get shorted on instrumentation. I'm not quite as reminded of Marsupilami as I was for In Blissful Company, but one could see this as a direction they could have gone as well. Because the album ends with a more traditional Indian piece, it seems many have written the album off as background restaurant music, or something similar. But Dive Deep would be awfully irritating for that setting I would think. Yet another excellent album, and I look forward to hearing their second album at some point.

Ownership: CD: 2005 Repertoire. Recent online acquisition. Colorful digi-pak with excellent liner notes from Chris Welch. The notes contain a band overview, and are slightly different to Welch's notes on In Blissful Company, which he had penned 2 years earlier.