Didier ~ Germany

Cptn. Coffee (1981)

---7/14/10

Didier's sole album is an incredibly obscure jazz rock release. Similar to Moira's Reise Nacht Ixtlan*, Cptn. Coffee sounds like something from another era - primarily 1973-74. Psychedelic fuzz guitar, driving bass, echoed German narration, atmospheric piano, and tricky meters with sax breaks ala Soft Machine. This is an exceptional album for its vintage.

---4/28/22

Even though it was already affixed with a high rating, I had a +1 listen with the LP last night.

* - Both albums were recorded in the same studio in the same year!

Ownership: LP: 1981 KladielasMusik (LP). Acquired in 2022.

Not been reissued as of 10/17/22.

7/14/10 (review); 4/28/22 (update / new entry)

2022 Fusion / Jazz Journal Vol. 1 - Complete

Dave Grusin - Discovered Again! 1976 Sheffield Lab (LP). I'm always interested in hearing things on the audiophile label Sheffield Lab, and Grusin is an excellent candidate for the imprint. Pretty decent smooth jazz, with a little bit of that early 70s TV soundtrack sound still left. Good on the whole, but inessential. (Mar)

Quincy Jones - You've Got it Bad Girl. 1973 A&M (LP). Similar to the above actually, but even more constrained and saccharine. This one is way too polished. Last year I picked up Smackwater Jack (1971) for the first time, and enjoyed that title better. (Mar)

Streetlife. 1981 Black Gold (LP). Ah, this ended up being a bummer. I was very excited to find this for $3 at a local store (signed no less). I'll buy anything on the collectable Black Gold label out of Albuquerque, New Mexico. Two of my treasures of the collection were released by them: Message (hard rock) and Genre (jazz fusion). Looking at the cover I thought I may have found something like the latter, or perhaps even a soul or funk album. No such luck. The cover, as it turns out, is truly indicative of the music. It's jazz vocal revival music, the sort of thing one would hear in the 1940s and brought back by the likes of Diana Krall in the 90s. Nothing wrong with that of course, just not what I'm into. It'll sell though (it did). (Mar)

RMS - Centennial Park. 1985 MMC (LP). Long ago I had an associate who would determine how good an album was by who was on it. A "names guy" I'd call him. Well, he'd certainly love this album then! Why RMS indeed stands for Ray Russell, Mo Foster, and Simon Phillips. No need to listen to the album - it's great! Ha. In any case, Centennial Park is a fine instrumental fusion album with decent guitar from Russell, but it has 1985 written all over it. The tones are cheap and the compositions are somewhat ordinary. I think if I didn't already have dozens of albums just like it, I would keep it. But enough is enough. (Mar)

*Ruphus - Let Your Light Shine. 1976 Brain (LP). Seems I've been on a Ruphus kick of late, but it's pure coincidence that this album came along after hearing the first two recently. I've had those on LP for many years, but never owned this title. Like with Release Music Orchestra's Get the Ball, you'd think this album was readily available, but it's surprisingly elusive here the States, at least at a decent price. Finally secured one online at a fair deal. This is where Ruphus switches gears from being a prog band to a jazz fusion group. The music is a superb example of the Euro fusion movement of the time, and the piercing female vocals of Gudny Aspaas adds to the allure, though requires a mental adjustment. On this listen, I was most reminded of Embryo's Bad Heads and Bad Cats, a major compliment indeed. (Mar)

Jack DeJohnette's Directions - Untitled. 1976 ECM (LP). I was hoping for a rough jazz rock album here similar to early Rypdal or Abercrombie. Well, not quite. This definitely isn't "ECM Jazz", but it is most certainly "Jazz". I could have gone for a rawer edge, similar to some of the greats from around 1970, but this one plays it safe for the most part. Oh well, not the best week for my jazz rock / fusion collection. (Feb)

Stanley Clarke - School Days. 1976 Nemperor (LP). Standard issue - but very good - fusion album from one of the legends of the genre. Followed the pattern of the day with a pastiche of styles, from heavy electric, to soft acoustic, and everything in between. Sometimes albums penetrate deeper into our psyche depending on when we hear them. For me, this comes too late, after absorbing many albums like it. But certainly a very fine album for the style. (Feb)

Art Lande - Rubisa Patrol. 1976 ECM promo (LP). Another ECM styled late night noirish jazz album. Peaceful and soothing. Though credited to pianist Lande as the marquee, it's just as much Mark Isham's album as well. He contributes half of the compositions and his muted trumpet is the dominate instrument. An old friend was a huge Isham fan, so I heard a lot of his work 30+ years ago. It was too tranquil for me then, and I still feel that way - at least on Rubisa Patrol. Borderline keeper, but have to draw the line somewhere. (Feb)

*Rainer Bruninghaus - Freigeweht. 1981 ECM / Warner Bros (LP). Bruninghaus was the keyboardist extraordinaire for Eiliff, so I was most curious how this solo album would turn out. It was only a couple of bucks, so why not? First off, this is nothing like Eiliff or has anything to do with Krautrock. And yes, it is most certainly "ECM Jazz", so we're all adults now. Mostly it's an atmospheric album with Bruninghaus' soothing piano and Kenny Wheeler's Flugelhorn, backed by scattered drums, oboe, and English Horn. It's very well done, and calms the nerves nicely. It's side 2 that really draws you in, as the music becomes more cyclical and entrancing, while Bruninghaus introduces more synthesizer to the mix. The 12+ minute title track is a whopper. Sounding all the world like Klaus Schulze's 'Crystal Lake' as a backdrop to the soothing jazz up front. Brilliant really. The US press translates the titles on the back cover (but not the label) to English. The title track is set to mean 'Set Free By the Wind', which tells me it's not a straight translation ('Blown Free' would be that), but an interpretation. I like the album's take because it fits the music perfectly. Wonderful surprise. (Feb)

Egberto Gismonti - Danca das Cabecas. 1977 ECM (LP). Acoustic based world fusion album from Gismonti. More towards proto New Age than "ECM jazz". Reminds some of Pat Metheny's acoustic works, also on ECM. It's not a bad album, but not very enjoyable either, at least for me. More academic than interesting I'd submit. (Feb)

Urban Ensemble - The Music of Roland Vazquez. 1979 Arista GRP (LP). This was a pleasant surprise. Somewhat standard fare late 70s fusion but with a full stage band behind it. Great horn charts. Think something along the lines of an instrumental Earth, Wind and Fire minus the soul and disco. Or, maybe more to the point, Caldera. (Feb)

* - Keeping for the collection

The Bigroup ~ England

Big Hammer (1971)

In today's culture, one might presume the Bigroup to be some sort of avant garde transsexual troupe. But most likely in 1971, it stood for nothing more than "The Big Group". Then again, they do have a composition entitled 'Blow-Suck Blues', so perhaps they were ahead of their time after all? 

Musically, however, they sound more like a late 60s group than a pioneering cutting edge post-Swinging London progressive band from 1971. Big Hammer is an all instrumental film library psychedelic album with copious flute, sitar, surf guitar, and roller rink organ. There's not much in the way of compositional development, which would be typical of the incidental film music genre. Somewhat similar to the Italian groups like Blue Phantom, Psycheground Group, or Fourth Sensation. Fun stuff.

Ownership: 2005 Wah Wah (LP). Round gimmix cover. No history or bonus tracks. Acquired in 2022.

Not reissued (legit) on CD as of 7/9/26.

1/9/07; 12/16/13 (review); 4/26/22 (update / new entry)

Newcross ~ USA ~ Los Angeles, California

Newcross (1986)

King Crimson were the only major left standing in the 1980s (or at least they were smart enough to pack it in during the tumultuous late 70s, only to reemerge stronger than before), so it's not too surprising that they were a major influence on a lot of bands during this lost period of progressive rock. As we saw with Regressive Aid, Crimson truly did hold court back then. Newcross is probably closest to Ixt Adux, in that they mix contemporary Discipline era KC with the more aggressive sounds of Red. However, unlike Ixt Adux, there's no leftover VDGG traces. It would be heartening to know if there was more high quality recorded material from Newcross, as a full reissue would be highly satisfying.

Ownership: 1986 Rain of Thought (EP). Acquired in 2022

No reissues as of 9/28/26

4/3/11 (review); 4/26/22 (update / new entry)

Missing Link - Nevergreen! 1972 Germany

Here's another album from the collection I hadn't heard in 16 years. But my review from back then captured my thoughts accurately on this session as well. A really fine effort that continues to satisfy at a high level. Here is that review:

Tight. After repeated listens of Nevergreen!, that’s the word that keeps popping through – tight. Missing Link play in the European jazz rock style, with plenty of saxophone, keyboards (including mellotron and Hammond) and guitar – all in unison, or as soloists. The quintessential track would have to be their cover of Charles Lloyd’s ‘Sorcery’ with lively clavinet, a hopping rhythm section, and great wah wah sax and guitar work. Most of the tracks rock hard, with the typical rough vocal that seems to follow the style. The exception is the gorgeous and engaging three minute piano solo, 'Song For Ann', played by future Embryo / Missus Beastly / Real Ax Band member Dieter Miekautsch. Sadly this would be the only recording for Missing Link, a highly talented group who easily could have gone on to great success. But apparently the German wing of the United Artists label was close to bankruptcy, and coupled with scant concert bookings, sent the band over the edge. Closest comparisons would be the first two Thirsty Moon albums, the first Xhol Caravan or early Missus Beastly.

Ownership: CD: 2005 Garden of Delights. Usual fine job from the label that includes a full history and one bonus track taken from a single (the other side 'Kids Hunting' is from the LP). My first copy goes back to the late 1980s, when I picked up the original LP. It wasn't in the best shape, and ultimately purchased a brand new deadstock LP from a collection buy in Tucson in 1994. I didn't like the cover (still don't) and traded it away for something more to my liking. I'd keep it today, but don't regret the decision as it was a strong asset even back then, and likely added something to my collection that I have to this day.

10/12/06 (Gnosis); 4/9/22 (new entry)

The Budos Band ~ USA ~ Brooklyn, New York

Budos Band (2005)

Found at a thrift shop which was a pleasant surprise. Interestingly enough I have all the Budos Band albums except this first album. I figured it would be similar to the others, since they all have the same kind of music (allowing for hard rock guitar later in the career). And I was right. This has their patented instrumental horn funk sound that they continued to perfect. Still, as a debut, this lays the foundation quite well. A definitely keeper, especially considering the cool retro volcano digipak cover. 

Ownership: 2005 Daptone (CD). Digipak. Acquired in 2022.

4/3/22 (review)
 

V (2019)

Brooklyn's finest returns with their 5th album. Not as heavy as the prior Burnt Offerings, more of a Led Zeppelin type tone this time. Otherwise there's no mistaking this for anyone other than Budos Band. Big fat horn charts and funky rhythms. Every track is excellent. Nothing extraordinary though, and it seems the band may have hit the point of diminishing returns.

Ownership: 2019 Daptone (CD). Digipak. Acquired in 2019.

8/4/19 (review)

Burnt Offering (2014)

I guess we first need to clear something up to set the proper expectations: There's no doom metal here. It's not like an instrumental Candlemass with a horn section (which, believe me, captured my imagination wildly - and I do hope someone actually does just that some day!). I don't think anyone is trying to mislead however. The guitar tone in question is a very heavy psychedelic fuzz circa 1969/70. Well, Yeaaa, that works for me too! I think Budos Band got the message that III sounded like a rewrite of II and perhaps it was time for something different. And they came through with Burnt Offering (someone digging into their Iced Earth collection were they?) - which can only be considered a rousing success. Still, there's no mistaking those horn compositions. Budos Band will always sound like the coolest house band at some "Egyptian Lounge" on Van Ness Avenue circa 1962. That's their trademark. But now they've added some fuzz guitar to those creaky organs and funky horn charts. I like it. Great band. Can't wait to hear what they come up with next. Epicus Doomicus Hornicus?

Ownership: 2014 Daptone (CD). Digipak with band member photos. Acquired in 2015.

6/6/15 (review); 2/18/22

Other albums I own: The Budos Band II; The Budos Band III

6/6/15 (new entry)

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)