Yes - Close to the Edge. 1972 England

From last year, but wanted to get it featured. No need for me to go on and on about this one.

I'm going to take a wild guess and suspect you're aware of this album. One of the greatest moments in my entire collection can be heard at the six minute mark of the title track. I just turn into one big goose bump at that instant. There are so many albums I could point to that led the way to my eventual obsession with progressive rock, but Close to the Edge might be the most influential of them all. I was 16 when I first bought this album on LP. And I subsequently played it over and over and over... I mean entire evenings were dedicated, three and four hours straight. When I look back to 1981, that is when UMR Jr. became Mr. UMR. Everything in my life changed (not just music) - all for the better. Close to the Edge was my soundtrack. This is one of my 5 star masterpieces, no way it can be less at this point. There's no chance for any kind of logical objectivity. It's pure emotion now. 

Ownership: 

1977 Atlantic (LP). Gatefold. Upgraded in 2025; First acquired in 1981.

2013 Audio Fidelity (SACD). Acquired in 2025.

2003 Elektra / Rhino (CD). Triple fold out digipak. Booklet with historical liner notes, history, and four bonus tracks. Acquired in 2026.

Atlantic (MC). 80s pressing. Acquired in 2024.

Essentially rebuilt my Close to the Edge collection in the last two years. For a long time I owned the original German LP and the Japanese papersleeve CD as my two copies. If I can find it on 8 track and reel to reel, I'm keeping those too. Not sure there exists a reel version though.

1981; 1994; 2001; 6//05; 10/9/13; 11/18/14; 3/19/22 (review)

Alain Markusfeld ~ France

Contemporus (1979)

I find it somewhat amazing that you can still buy high quality sealed prog albums from the 70s for under $10 (part 1). This is Markusfeld's 5th album. Concerning the predecessor I wrote: "On Platock, Markusfeld turns mostly to the acoustic guitar, with bursts of electric throughout - as well as a few wordless voices. This isn't so much a prog rock album, nor jazz fusion, but rather a cyclical piece that draws from both genres. Similar in that way to Mike Oldfield, and perhaps more specifically Michel Moulinie. Something like an Inventions for Acoustic Guitar, though far less cosmic. It's a unique album, one that doesn't grab your attention on paper, but becomes mesmerizing over the course of the album." All of that could be said here, perhaps even more academic. Almost an unclassifiable record, but one that satisfies on multiple listens. 

Ownership: 1979 Visa / Egg (LP). Acquired in 2022.

3/3/22 (review)

Platock (1978)

Perhaps the most unheralded of all French progressive rock artists of the 1970s, Alain Markusfeld had no less than six albums throughout the 70s and early 80s, and none have seen a CD or LP reissue. On top of this, his original LP's on Egg, starting with Le Desert Noir, suffer the ignominy of being super cheap. That is to say, there is far more supply than demand. How can that be after all these years? I have no idea really, as Platock is yet another victim of the malaise surrounding the artist. On Platock, Markusfeld turns mostly to the acoustic guitar, with bursts of electric throughout - as well as a few wordless voices. This isn't so much a prog rock album, nor jazz fusion, but rather a cyclical piece that draws from both genres. Similar in that way to Mike Oldfield, and perhaps more specifically Michel Moulinie. Something like an Inventions for Acoustic Guitar, though far less cosmic. It's a unique album, one that doesn't grab your attention on paper, but becomes mesmerizing over the course of the album.

Ownership: 1978 Egg (LP). Acquired in 2000.

2000; 7/11/18 (review)

No reissues exist for any Markusfeld album as of 3/12/26.

Also own: Le Monde en Etages; Le Son Tombe du Ciel; Le Desert Noir

7/11/18 (new entry)

Friends / John Abercrombie (and related) ~ USA ~ New York

John Abercrombie Quartet - Arcade (1979)

A very pleasant and soothing album with particularly strong rhythm work. Very good on the whole (and better than the follow-up). Can't keep them all, and this is the sort of album I don't tend to gravitate to.

1979 ECM (LP)

2/24/22 (review)

John Abercrombie - Timeless (1975)

Timeless is one of those albums I thought I'd heard back in the day, but after plopping it on the turntable, it was quite apparent I had not. This is Abercrombie's debut with ECM, a few years after the brilliant Friends album. Joining Abercrombie for this session is the new "it guy" on organ and piano - Jan Hammer. And Jack De Johnette on drums. The mid 70s ECM sound was much rawer than what was to come, and here Abercrombie recalls Norway's Terje Rypdal with a decidedly psychedelic tone applied to the guitar. Hammer is having fun on the Hammond while De Johnette is definitely playing in jazz mode, versus a more anticipated rock. His drumming could be called "sporadic". Timeless is on the border of jazz rock and pure jazz. The opening 'Lungs' is definitely the highlight along with the proggy 'Red and Orange' and the moody title track closer. The other tracks are more acoustic and introspective, foreshadowing the label's own move into contemporary jazz. Overall it has some similarities to the aforementioned Friends release minus some of the Krautrock textures that fine band managed to unconsciously obtain.

Ownership: 1975 ECM Germany (LP). Acquired in 2021.

12/11/21 (review)

Abercrombie Quartet (1980)

Prior to this release, John Abercrombie had been a major player in the jazz rock field for some years, and we just mentioned him very recently on one of Billy Cobham's albums. And his best work, in my opinion, was with the band Friends, one of America's great hidden underground treasures (see below). Instinctively I kind of knew this was going to be too late in the game for me to appreciate much. And that preconceived notion proved to be true. Very adult. There's a reason ECM Jazz has its own genre. In fact, let me quote my thoughts on a recent post about Pat Metheny: "More adult contemporary jazz... fusion. I'll never mature enough for this style of music it seems, but have to admit it provided a pleasant mid-evening listen. Calms the nerves, while not offending anyone. Likely will not keep." That.

1980 ECM (LP)

4/25/21 (review)

Friends (1973)

Underground America comes through once again. With Europe, especially in places like France and Germany, it's relatively easy to spot the pigeon. For every pop album, there was an experimental avant-garde release not far behind. But not the US of A. The land of the quick buck. No, you have to dig deep and far. And in all genres. Because you never know where the next great album lies. Friends. Yea, good luck in finding info with a name like that. But one name jumps out once you've been exposed to this treasure: John Abercrombie. What on Earth? That's TWO discoveries for me recently that features this well known ECM guitarist. The other being Stark Reality.

And since we spoke of Germany earlier, that's exactly where I'd guess this album had come from had I not known any better. Let's first discuss the lineup of instruments: Guitar, sax, bass and drums. Big deal right? We'll start with Abercrombie, since he's the marquee name thrown around. He was clearly in his Mahavishnu John era, and has no problem playing jazz guitar like Jimi Hendrix on steroids. So we already have an edge. Most of the bass work is stand-up, like I'VE NEVER HEARD ANYONE before. Louisiana born Clint Houston is all over his instrument, like a pissed off Jimmy Garrison. Love Supreme my ass - Hate Supreme and get out of my way homeboy. Drummer Jeff Williams puts in the most ordinary performance, and he's still nothing short of excellent. And then there's Marc Cohen. He MUST HAVE KNOWN Tim Belbe. Any jazzer reading this page is going who is Tim Belbe? But the Krautrock heads know - were talking Xhol Caravan here. Wah-wah, fuzz, phased, echo-plexed and just flat out tortured. What Mike Ratledge did to the Lowrey Organ is what Tim Belbe did to the saxophone. And Marc Cohen FREAKS OUT even more than Belbe did - at least on vinyl. Elton Dean might as well be Charlie Parker when we're in this game. So basically we have four long, very freaked out instrumental tracks of jazz rock underground avant insane madness. And it rocks like nobody's business.

This album is just ridiculous. Awesome.

Ownership: 1973 Oblivion (LP). Acquired in 2007.

Still not been reissued as I update this post (10/16/26).

10/19/07 (review)

6/22/09 (new entry)

Moolah - Woe Ye Demons Possessed. 1974 USA-New York

To put it succinctly, this is America’s Krautrock album. The real deal, circa 1974, not a revisionist history job, or a cheap hipster imitation. Moolah were the duo of Walter Burns and Maurice Roberson, who play a variety of keyboards, percussion, voices/tapes, anything that looked like an instrument, and other found sounds. And, naturally, all blown through the funz-a-poppin’ blender of studio trickery (backwards masking, phasing, filtered, you name it, it’s here). This is the type of album to compel Julian Cope to write volumes to the gods at the top of ziggurats. If I were half the writer Cope was, I would have a blast describing the imaginary movie that this soundtrack inevitably goes with. If someone blindfolded me, and said "Check out this unreleased Annexus Quam album that was to be originally issued on Ohr", I would’ve believed it... For a slice of pure underground subversive America, via Greenwich Village, you absolutely can’t go wrong with Moolah.

Ownership: LP: 1974 Atman. Single sleeve. Etched gold signatures. Online acquisition (2004). 

Sealed copies were available for many years, though I think it's dried up now. For years, this rarity was mislabeled as being on the relatively common Annuit Coeptis label (most known for US issues of German bands like Ramses and Bullfrog). The reality is the original private LP displays a dollar bill which, of course, leaves the Latin phrase intact. Though it didn't sell well in its day, most of the original pressings were preserved. The only CD is the Japanese pressing on EM from a decade ago. At first I thought it might be a bootleg, but it was confirmed legit, and the label has no history of pirating. It's a straight jewel case reissue with good sound, and no other extras. My best guess is permission was granted via e-mail. As such, since it offers nothing else, I decided to move it out.

1//2004; 10//2006; 2009; 2/14/2022 (new entry)

Wucan ~ Germany

Sow the Wind (2015) 

Their second full length album is reviewed below, and general wisdom has it that it's the greater of the two. But I liked this one better - really strong heavy psych / prog / Krautrock. The latter shows up in particular on the final 15+ minute track. By the time of the female narration in German, you know you're sitting on a near masterpiece. One of the better recent-era albums I've heard.

Ownership: 2019 Made in Germany (LP). Clear vinyl.

2/11/22 (acquired / review)
 

Reap the Storm (2017)

"This one took awhile to penetrate. Two full listens over 2 nights - with the always illuminating craft beer by my side - yielded nothing but confusion. OK - need to take this one to the car where I'm sober-as-a-judge and hyper critical. Most albums don't survive that. This one did." Part 2: Germany edition. Like the Superfjord album, Wucan provides a difficult-to-consume-on-one-listen extravaganza. And like Superfjord, Wucan provides a panoptic view of music, this time it's with a German focus, which explains why I probably enjoyed it more overall. Wucan are lead by Francis Tobolsky, and her vocals are a major part of the sound, along with her trusty flute. In this way, Wucan could be looked at as a German version of Blood Ceremony. But no, it's certainly not that, and Black Sabbath isn't really an influence here. Rather it's the classic Krautrock sound of the early 70s. With the strong feminine presence, Frumpy leaps to the front, though musically perhaps first album Tomorrow's Gift is more accurate. But then there's this early era 1980 NWOBHM style found on a couple of tracks. And a lengthy cosmic Krautrock piece, some Blues Pills like work, and even some Pilz label psychedelic folk. Most tracks are in English, but some are in German. So as you can tell, it's more of a compendium of the best of German progressive rock. In this way they're more like the 70s group Metropolis, or even the more modern Polytoxicomane Philharmonie. Yea, I'm name dropping like crazy here. And that's why it takes so long to grasp the album. Keyboards definitely take a backseat, and the guitars are driving the bus. Oddly there isn't anything extraordinary about Reap the Storm, despite all the great references. Perhaps it's too measured and studied, but all the same, if the bands above check in to your personal motel, then certainly Reap the Storm isn't to be missed.

Ownership: 2017 Hansel & Gretel (CD). Digipak. Informational booklet.

8/6/20 (acquired / review)

8/6/20 (new entry)

Mads Vinding Group ~ Denmark

Danish Design (1974)

There are two solid reasons to chase down this otherwise more typical fusion album: 1) Guitarist Janne Schaffer absolutely blazes on two extraordinary tracks (especially the opener). 2) The really cool album cover. For reason 1), on these two tracks, it sounds more like the Dutch hard hitting instrumental progressive rock of Finch, Bonfire, and Scope.

This is another case where the dates are confusing, as the album is copyrighted 1977 Sonet. But the original Swedish press is indeed from 1974, as it says on the label of that release. Considering the cover, it probably doesn't pass modern cancel culture, but I still think it's pretty awesome.  

No reissues as of 5/20/26.

Ownership: 1977 Peters (LP). Acquired in 2022.

1/18/11 (review); 2/4/22 (update / new entry)

Treacle People. 2006 Germany

Another nice discovery here. I remember when this came out, as I tracked it real time. Not really sure why I didn't pursue it, because the descriptions had my name all over it. Then again, there were seemingly hundreds of interesting new products coming out then, and I just didn't have the time or funds to pursue them all. Treacle People can easily be described as retro hard rock with Hammond organ. Very much sounds like an album of the 70s, and the tracks have a slight proggy vibe, typical of the German landscape a generation before. For fans of Birth Control, Jane, Nektar, Galaxy, Gift, etc...

Ownership: LP: 2006 World in Sound. Nice gatefold sleeve. Recent online acquisition and cheap at that. It's a bit surprising to me that LPs like this have actually depreciated in the marketplace. BTW, the date of the LP is clearly marked as 2006 on the back cover. I should add it to Discogs. All the discographies have this originally released in 2005, and it's possible the CD did come out then, but I cannot find visual evidence of that either.

new entry

Encyrcle. 2015 Denmark

Taking a break from posting about the commodities and collection revisits. Only so much time in the day. But definitely want to point out the more unknown pieces that need attention. Like Encyrcle!

I'm always on the lookout for retro bands who capture that weird strain of 80s metal - that bizarre amateur hour way of composing and putting things together. Seemingly without rhyme or reason, but not necessarily technical either. Denmark's Encyrcle is that band, and their sole album is just a fun listen. You'll see the band tagged with the speed metal genre, but it's way more interesting and meaty than that implies. This is far more Iron Maiden than Exciter if that makes sense. Nor is this the great late lost 80s tech thrash that I've been going on about for the last few years. There's some blast beats in here, but it goes perfectly with the compositions. The singer is perfect, no death growls and barks to endure, nor does he try to be Rob Halford. A couple of good Udo Dirkschneider (Accept) shrieks here and there, which is so perfect. There's some piano too, go figure that one out. Has some really killer riffs, and they're all placed where you want them to be. The production captures the era just right. If you like the more interesting aspects of 80s metal, you'll want to explore Encyrcle.

Ownership: LP: 2015 Dark Descent (USA). Single sleeve with lyric/picture inner. This will no doubt prove to be the pick of the litter from the 25 cent each find late last year. Dark Descent, as reported on the Crypt Sermon posts, are based here in Colorado Springs. In reviewing their entire catalog last night, 98% of what they release is death and black metal, so not to my tastes. Best I can tell, Encyrcle is the only album like this from the label. According to inside sources, they have done remarkably well from a sales perspective. More power to them!

new entry

Epitaph - Stop Look and Listen. 1972 Germany

As with Abacus and Kin Ping Meh, Epitaph took more of a UK approach to prog rock on their debut. And all 3 groups switched gears on their sophomore effort and moved towards hard rock - perhaps even the rural variety of said genre. Of this sample size, Epitaph's second album is the clear winner. Guitar is the focus, but they haven't yet dropped the organ, most notably heard on the lengthy 'Fly' track, a vestige of their Krautrock past. This is the album that allowed their international breakthrough follow-up Outside the Law to happen. With only 5 tracks, there's plenty of room for guitar based jamming. An excellent entry for hard rock fans, lesser so for Krautrock and prog.

Ownership: LP: 1972 Polydor. Single sleeve. Recent online acquisition. First time for me to own this title in any format.

1/29/22 (new entry)

Lloyd McNeill - Treasures. 1976 USA-Washington D.C.

I've spoken about my admiration for Lloyd McNeill on the Asha album post, so I won't cover that here again. Five years after his 3rd (and arguably best) effort Washington Suite, McNeill returns with Treasures. Right from the opening 16 minute 'Griot' time stands still as the music sounds every bit like a 1971 McNeill effort. Along for the ride are some Brazilian musicians he befriended along the way during various travels, including most prominently pianist Dom Salvador. The middle two tracks demonstrate the South American influence, with a bit more of a rock rhythm and some happy flute from McNeill. The closer is closer to a jazz ballad, and points to an earlier period. Great album overall, and a must for McNeill fans.

Ownership: CD: 2019 Soul Jazz (UK). Purchased from an online retailer upon release. Comes with a history of McNeill, a couple of photos, and his full discography in pictures. Long overdue and much needed reissue.

1/28/22 (new entry)

Peru ~ Netherlands

Constellations (1981)

Back again with another electronic album. Peru are (still around I think) a three piece (a play on their names apparently) who play a raft full of keyboards primarily of the Korg variety. Want to take a stab at who they are trying to emulate? Yea sure, why not: Winner Winner Chicken Dinner! So yes, of course Schmoelling era Tangerine Dream lives deep in these guys. I believe this is their second album. It's more of the same, of which I'm just enjoying at the moment. As one of my organization's younger members blurted in a meeting recently (hilariously so I might add) "I'm going through some shit, don't judge me!". She was of course joking, but I could relate.

Ownership: 1981 CNR (LP) 

1/28/22 (review / new entry)

Nuova Era ~ Italy

Dopo L'Infinito (1989)

The late 80s were an exciting time for progressive rock, as all the signals were there for a renaissance. It had successfully moved to the underground, and there was still a market hungry for new talent. Italy was one country that hadn't seen much activity, and so when Ezra Winston arrived on the scene in 1988, happy days were ahead. Trouble was, they were more UK and Dutch influenced than what one would expect from Italy. Ah, but the cavalry was on the way. And leading the charge was Nuova Era. By their second album Dopo L'Infinito, the band had found their footing, and released the first bona fide Italian prog album in many years. Two side long tracks, going through a myriad of dynamic and meter changes, all sung in glorious Italian. As with any great prog band from Italy, the best parts are the breaks, the sudden change that is loudly announced via guitar or keyboards, followed by a barrage of heavy rhythm. And Nuova Era is relentless on this front, making the second side the stronger of the two. Make no mistake though, Dopo L'Infinito is definitely an early 70s styled prog album from a composition standpoint, but the instrumentation is very much that of 1989. So analog purists may still scoff, but for fans at the time, it was manna from heaven.

Ownership: 1989 Contempo (LP). Gatefold with lyrics in the centerpiece.

1990 (first listen); 1/28/22 (review)

Io e Il Tempo (1992)

Probably more than any other band, Nuova Era can be credited with bringing back the classic early 70s Italian progressive rock sound... kicking and screaming into the 90s. They started their career with the rather tepid L'Ultimo Viaggio, but by the time of Io e Il Tempo, their 3rd album, Nuova Era were firing on all cylinders. The basic foundation of the classic Italo sound are here: Classically based compositions, turn-on-a-dime rhythms, impassioned vocals (in Italian of course), and expertly played instruments. And it's the usual palette of sounds with organ / synthesizer, guitar, flute, bass and drums. Two long suites with plenty of unexpected turns; ferocious rocked out parts are offset by tranquil piano interludes which keeps this an exciting listen throughout. The vocals are similar to Sithonia - another standout early 90's Italian band. Despite all of the parallels, there's no mistaking Nuova Era as a purposefully retro band ala La Maschera di Cera. The guitarist can fall prey to "rock star" ambition on occasion, and the overly bright production screams early 90s. But the thoughtfulness and density of the compositions is what makes albums like this stand the test of time, the lack of an abundance of analog equipment notwithstanding.

Ownership: 1992 Contempo (LP)

1992 (first listen); 5/4/12 (review)

5/4/12 (new entry)

Tyndall - Sonnenlicht. 1980 Germany

My first encounter with Tyndall's albums was at a specialty import store in Dallas known as The Record Gallery. It was the summer of 1985, and I was working as an engineering intern (see Pink Floyd Meddle entry for more on that), and as such I had some money to spend on my fast growing record collection. It was like walking into a parallel universe, where all the albums were completely different than anything I'd ever seen before. This is where I loaded up on the Pop Import reissues of Ash Ra Tempel, Popol Vuh, and others while looking at dozens of other albums that looked very intriguing. I still had a limited budget so deciding what to buy was not easy. I had no guideposts, no internet links to sample. Just pure gut instinct. And despite the beautiful cover, I was thinking this was probably going to be a bit too much "80s electronic" and not enough psychedelia and rock that I was craving. Now some 36 years later, I find it again at a record store. Of course I'll buy it.

My instincts proved correct. There's no way I would have kept this past the mid 90s LP purge. It's rudimentary electronic music made by two German dudes who possess a pretty good setup for the time. It had already been done by 1980, and would be done countless more times afterward. But for whatever reason - probably nostalgia - I'm loving this sound today. Rather than go for the side longers, Tyndall offers up 7 solid compositions in the Berlin School tradition. There are no fat Modular Moog sequences, the keyboards are more common variety than that. You can probably image the sound in your head without hearing it, but if you're like me, and you can't get enough of that distinct late 70s and early 80's electronic music, then of course Tyndall's debut Sonnenlicht would be a welcome addition. Not one to start with though.

Ownership: LP: 1980 Sky. Single sleeve with an eye catching cover. This was part of the Baltimore store pickup, and priced not much more than a thrift shop (despite being nearly perfect mint), similar to the Gandalf albums. Easy to find online, and not that expensive (though more here in the States than Europe).

new entry

Osage Tribe - Arrow Head. 1972 Italy

Osage Tribe were an "early days" Italian prog band where they mixed late era psychedelia, hard rock, and progressive rock seamlessly. There was likely no attempt to be part of a scene, yet that scene existed inside Osage Tribe. Originally lead by none other than Franco Battiato, Osage Tribe were a trio at the time of recording. They're basically a hyperactive rhythm section with Nuova Idea's Marco Zoccheddu doing everything else. I really like his guitar style, which is generally fast and loose, with plenty of psychedelic soloing. He brought the same style to his next venture - the decidedly jazz influenced Duello Madre. I'm not real keen on the lengthy opener 'Hajenhanhowa'. It's a bit slow paced, and has a distinct "1960s American TV Western" variation of Native American music (see Ownership section for more). After this, the remaining 4 tracks are classic Italian prog styled numbers, and could be considered the missing link between Il Balletto di Bronzo's two albums, even if there's no relation. An excellent album overall, that gets better with each listen.

Ownership: LP: 2013 Vinyl Magic / Bla Bla. Gatefold. Acquired not long after release from an online retailer. This is the first time for me to hear it. Definitely taken from vinyl (still sounds great), but given the fact that originals are hyper rare, it's far better than nothing. The cover is stunningly beautiful even though it's completely inaccurate. The girl on the cover is - of course - no Native American. She's a sexy white girl in a skimpy costume - male fantasy overload essentially. It reminds me of the gift shops you'll see throughout the American southwest (certainly including here in Colorado) with paintings of what could be called "Caucasian Indians". I think the Cheech and Chong inspired centerpiece and back cover may offer some clues to how all this happened. There's a lyric inner sheet as well, with one side a mirror image (sort of useless). 

CD: 1994 Vinyl Magic. Standard jewel case. Features as bonus tracks their rare 1971 single. If the cover wasn't bad enough, the music here is nothing short of exploitive pop music. Apparently it was a hit in their native Italy at the time. It's not enough to keep the CD for (especially since those 2 tracks aren't very good really). Not sure why they didn't include them on the vinyl repressings, other than the quality of the music. 

BTW - if you want to hear authentic Native American music, I encourage you all to seek out the various Folkways albums dedicated to various tribes from the 1950s and 60s. These were field recordings of actual ceremonies from the time. They're extremely lo-fi, but 100% authentic.

1994; 2008; 1/26/22 (new entry)

Katamaran ~ Germany

Cafe Florian (1978)

Katamaran is another long time CDRWLister. Cafe Florian is their second album and last night's revisit resulted in a +1 after back to back listens. Primarily due to the depth of the compositions, which I didn't pick up on before. I didn't have separate notes up for this title, so starting from scratch here. A full sextet, all members get a chance to shine in an ensemble setting. Wolf Burbat is the clear leader, as not only does he write the songs, but he provides the primary lead instruments, that of flute, synthesizer, piano, and Rhodes. But the others don't just sit back and buy a ticket to watch. There's plenty of electric guitar, saxophone, bass, drums, and a dedicated percussionist as well (from Kollektiv!). A very solid album for the category.

Ownership: 1978 Plane Jazz (LP)

None of their albums have been reissued in any format as of 3/30/25.

10/08/09 (first listen); 1/25/22 (acquired / review / new entry)

Ring van Möbius ~ Norway

Past the Evening Sun (2018)

It doesn't take too long to figure out that Ring van Möbius (Ring van Mobius if searching) have Van der Graaf Generator on the mind while listening to Past the Evening Sun. The dense compositions, the broad stroke saxophone, heavy bass, and the psychotic Peter Hammill style vocals all point to Pawn Hearts. The vocals might be a bit more soft affected than Hammill's - perhaps a bit of Gabriel even, and some of the mellotron work recalls early King Crimson, so it's not all intense - all the time. Ring van Möbius were to switch gears for their second effort The 3rd Majesty (for arguably the better) which I managed to get some words down below. For another Norwegian retro prog band reference, Past the Evening Sun reminds me of Gargamel. Easy rec for fans of complex early 70s prog rock.

Ownership: 

2018 Apollon (LP) Gatefold. Gold marble vinyl.

2018 Apollon (CD). Booklet with colorful layout with lyrics, and a band photo.

1/14/19 (acquired); 1/24/22 (review)

The 3rd Majesty (2020)

Snuck one more new album in before the New Year. Ring van Mobius burst onto the scene a couple of years ago with their own brand of retro prog. To be honest I don't remember much about that debut, but I have an excellent rating for it (since rectified, see above). And perhaps no surprise since Past the Evening Sun was modeled to some extent on Van der Graaf Generator - a band I recently told you all I struggle to recollect regardless. The 3rd Majesty seems to draw from a different well of UK progressive rock. There are some VDGGisms left, but gone is the saxophone, and its place is a barrage of keyboards and fuzz bass. Whereas fellow countrymen Wobbler dabbles with both classic Scandinavian dark prog and all-time favorites Yes, Ring van Mobius borrows from that same Yes, as well as ELP, King Crimson - and the American variant of such. Scoff all you want, but one can even hear Starcastle within these grooves. As is often the case with music like this, the blend is original even if the ingredients are not.  Given that I'm an unreconstructed early 70s progger at heart, I find albums like this to be highly satisfying. Not a title for those who would like to get past 1974. For my tastes this album challenged Wobbler's latest to the finish line. Superb offering.

Ownership: 

2020 Apollon (LP) Gatefold

2020 Apollon (CD). Booklet featuring lyrics and Renaissance era-styled fonts and artwork.

12/31/20 (review)

Also own and need to review: Commissioned Works Pt II - Six Drops Of Poison

1/1/21 (new entry)

Black Sabbath - Mob Rules. 1981 England

Mob Rules is the second album from the post Ozzy Black Sabbath / pre Dio solo era. Like with Heaven and Hell, the music is more energetic than what one usually associates with the Sabs. It's borderline heavy metal, though really it's more like juiced up hard rock. For whatever reason, even though I was very familiar with Heaven and Hell real time, I never took the time to hear the follow-up. The title track and 'Turn Up the Night' received perfunctory airplay but it was hardly ubiquitous. It wasn't until about 2005, after picking up a commodity CD, that I became aware of the quality herein. Besides the more upbeat tracks, the two highlights here are the longer, more thought-out, tracks: 'The Sign of the Southern Cross' and 'Falling Off the Edge of the World', the latter featuring a particularly compelling riff about halfway through. For whatever reason, I was brought back to Dio's time with Rainbow, especially the mammoth 'Stargazer'. Mob Rules is good goods.

Ownership: LP: 2021 Rhino / Warner. 2xLP gatefold cover. Recent trade credit acquisition from a local store. A fantastic reissue, it would be hard for me to even keep an original, if I ever found one. The second disc features the single from the movie Heavy Metal with the original B-side of a live version of 'Die Young' from the previous album. Also included are extracts from 1982 concerts in Portland and London, which includes an interesting mix of the first half of Southern Cross with the blazing second half of the Heaven and Hell title track. The centerpiece has extensive historical liner notes with participation of the band and family members. There's even an interesting retrospective from the original cover artist, who was active with the Catholic church, and didn't even know who Black Sabbath were. He has since reconciled...

1/23/22 (new entry)

Pythagoras - After the Silence. 1982 Netherlands

This is the second album I've heard this year with a "For Jimi" tag. Though for Pythagoras' sophomore effort, it's far more a stretch than on Jukka Tolonen's Hysterica. This isn't a guitar centric album, but definitely belongs to electronic music forms, very prevalent in the day. Given that one member of the duo is a drummer, it definitely is more "electronic rock" in the same manner that Klaus Schulze's Moondawn is. Though one can argue that Pink Floyd is more an influence on the rockier sections. Lots of guests on this platter including Arjen Lucassen on guitar (he of Ayreon fame, who made a decent career of it 15 years later), Plackband (long before they ever saw a release), flute, violin, and a rare appearance of the Novotron. The keyboards are a mix of the latest digital synthesizer technology of the day, with copious amounts of the legacy mellotron. A different sound for the genre, and excellent on the whole.

Ownership: LP: 1982 Syntone. Single sleeve. Was part of the large haul from the Baltimore record store late last year. The photos you see are this copy as we added them to Discogs. Also changed the date to 1982, as the labels are clear about this. The back cover shows 1981, which is probably the source of the incorrect year.

new entry

Pell Mell - Marburg. 1972 Germany

Pell Mell's debut is representative of the heavy prog movement rolling through Germany during the early 70s. While many groups were exploring various realms of Krautrock, or going for the jugular with a particularly acute hard rock, there were others that incorporated progressive rock motifs. Marburg is one such album, and recalls the recently reported Sahara Sunrise, along with Eloy's Inside / Floating, and Metropolis' sole album as but a few examples. The copious use of violin adds Hoelderlin to the mix. 5 long tracks, filled to the brim with heavy guitar/organ instrumental work and strong compositions. Pretty much a can't miss item if all these ingredients sound good to you.

Ownership: LP: 1972 Bacillus. Single sleeve first pressing "unboxed Bellaphon". Acquired online in 2015, and this is the first time for me to hear this copy. The first version I bought was the purple Bellaphon label released in the late 70's likely. Bought that new from a UK mail order dealer in 1990 and was replaced by this.

1/22/22 (new entry)

Zanov - Moebius 256 301. 1977 France

I have some thoughts up on this blog already about Green Ray, Zanov's debut. His sophomore effort continues in that vein. The late 70s was filled with budding electronic musicians getting ahold of (very expensive at the time) analog synthesizers and making a go at being the next Tangerine Dream, Klaus Schulze, Vangelis, or Jean-Michel Jarre. Most became obscurities as soon as they were released, but Pierre Zalkazanov did manage to receive 2 releases on the venerable Polydor label (even though he kept his day job - presumably to afford the equipment!) and had a great reputation in France - probably the most innovative country during that era. The album starts off with 3 vignettes, similar to Richard Pinhas' Chronolyse, before launching into lengthy excursions. The energy level is high, and this is the dynamic electronic music many of us crave. Excellent on the whole.

Ownership: LP: 1977 Polydor. Single sleeve. Was part of the Baltimore purchase late last year.

1/21/22 (new entry)