And more...
Nadavati - Le Vent de L'Esprit Souffle ou il Veut
Friday, November 14, 2025
Tuesday, November 11, 2025
Touch ~ USA ~ Portland, Oregon
Touch (1969)
Depending on one's perspective, Portland, Oregon based Touch is a very inventive late psychedelic era release - or it was at the vanguard of the progressive rock movement, something that never really took off in the USA, but was starting to roll in England. Like many bands from the late 60s, Touch tried their hand at various styles hoping something would stick. It isn't until track 4 that the highly experimental progressive side of the band emerges from the closet. The album closes with its most impactful and influential 12 minute opus 'Seventy Five'. According to history, both Jimi Hendrix and Mick Jagger showed up in person and were fascinated by what Touch were accomplishing in the studio. Surprisingly, even to this day, the LP isn't rare or expensive. It sold a lot of copy initially, and yet didn't have much impact on the American underground. Europe, on the other hand, was more intrigued.
As an aside, I found a Don & The Goodtimes 45 in recent years, and wasn't aware they were pre-Touch.
Ownership: 1993 Renaissance (CD). Historical liner notes and two relevant bonus tracks.
1998 (acquired); 11/30/24 (review)
11/11/25 (new entry)
Monday, November 10, 2025
Rahmann ~ France
Rahmann (1980)
---3/19/13
What do you get when you mix Algerian Arabian music with Mahavishnu Orchestra styled high energy fusion and Zeuhl structures? Rahmann. There is simply no other album like it. One of a kind.
---11/10/25
Another album in my collection that I have a long history with, but haven't documented it much, beyond those brief notes some 12+ years ago. Though I could be tempted to leave my review with those notes, as there really isn't that much more to say. A Middle Eastern Magma I suppose, minus the Kobaian language. Album peaks on the fiery 9:38 'Leila'. Borderline where it belongs in the collection, though I'll leave in progressive rock versus jazz fusion, though an argument could be made either way.
According to the liner notes in Musea's booklet, the release date was January 1980, though it was recorded in 1977 and remixed in 1978. The Discogs date of 1979 is incorrect.
The Musea CD adds in four bonus tracks, also recorded in 1977. These total 27 minutes, but are essentially variations of the tracks that appeared on album (and not quite as dynamic). Only 'Danse Sacree' is extended (by four minutes) though it isn't necessarily that much different than what was released, just rawer.
A few interesting facts: Chrissie Hynde, founder of The Pretenders, was once a member of Rahmann. Further on, Al Di Meola reportedly taped an entire live show of Rahmann in 1976 that has yet to surface. Guitarist and band leader Mahamad Hadi later played with Nico. There's also a jazz album with Hadi and John McLaughlin on bass that has yet to see the light of day.
Ownership: 1980 Polydor (LP)
12//94 (acquired); 1999; 3/19/13 (notes); 11/10/25 (update / new entry)
Jordsjø ~ Norway
Salighet (2023)
It's been forever since I mail ordered some new prog CDs. That makes sense given I'm downsizing my collection while also finding many great CDs out in the wilds for $1 or less. But new product does help keep the enthusiasm going. Of course I went right for the known and comfortable. Real chance taking here.
And from the opening mellotron and organ sounds on Salighet (Bliss), I was reminded why I do such things. I know I have too much retro prog, but I don't seem to care. Jordsjø is like Wobbler and Agusa in that there is little chance what I'm going to hear doesn't resonate positively. This album is now over two years on, and they've released a half album since. I have no intention of "keeping up". In reading my review of Pastoralia, it appears Jordsjø is decidedly not coloring outside the lines in any form or fashion, as they did there. Mellotron, flute, spirited rhythms, organ, acoustic and electric guitars, Nordic folk melodies, airy vocals in Norwegian. Genius Hans Essentials. Like a hot shower and clean sheets. I really should stop loading up further on titles like this. Will I? Doubt it.
Ownership: 2023 Karisma (CD). Lyric foldout booklet with recording details. Acquired in 2025.
11/10/25 (review) 
Pastoralia (2021)
Jordsjø (Jordsjo if doing a quick search in Anglais) is one of only a handful of contemporary bands I keep up with real time. Their brand of mysterious and murky early 70s styled progressive rock is the kind of music I never fail to enjoy. Pastoralia. What a perfect title to describe their music in general. Opener 'Prolog' is interesting, as it didn't march in lockstep with what is expected. In fact, it starts off as maybe a jazz fusion album would. Then the familiar symphonic prog sounds of Jordsjø jump in. Then it ends with some bass clarinet chamber styled avant prog. All fine musical styles, but not sure I want that with my Jordsjø. Like going to a Thai restaurant and they're introducing their "new spaghetti and meatballs!". I love Italian food. But not when I'm in the mood for Thai.
Jordsjø (Jordsjo if doing a quick search in Anglais) is one of only a handful of contemporary bands I keep up with real time. Their brand of mysterious and murky early 70s styled progressive rock is the kind of music I never fail to enjoy. Pastoralia. What a perfect title to describe their music in general. Opener 'Prolog' is interesting, as it didn't march in lockstep with what is expected. In fact, it starts off as maybe a jazz fusion album would. Then the familiar symphonic prog sounds of Jordsjø jump in. Then it ends with some bass clarinet chamber styled avant prog. All fine musical styles, but not sure I want that with my Jordsjø. Like going to a Thai restaurant and they're introducing their "new spaghetti and meatballs!". I love Italian food. But not when I'm in the mood for Thai.
I worry too much, because after this, Jordsjø gets down to the serious business of creating a retro prog classic. My fave has to be the three part closer 'Jord' (shocker that). There are parts - like when the Norwegian narration pops in - that even conjure up the spirit of Krautrock. I'm reading some reviews that are expressing disappointment overall. That happens often when a band has a defined sound and then veers away from it. But I really don't think they've gone off the reservation here. Also reading comparisons to Gryphon, but honestly I never once thought of them in my back to back listens. There's a bit of Renaissance Faire here and there, but it blends nicely with the thick and wedgy early 70s analog electric sounds the genre calls for. For my tastes, Jordsjø have come up with another classic. A work that will be a contender for album of the year when it's all said and done. Definitely.
Ownership:2022 Karima (LP). Gatefold. Acquired in 2025.
2021 Karisma (CD). Booklet filled with Medieval European monk styled writing and art. Acquired in 2021.
2/19/21 (review)
Let's make it three years in a row. In 2017 Wobbler's From Silence to Somewhere was my choice for album of the year. I don't think it will be topped, but one never knows as obscure albums trickle in all the time. Last year we rambled on about All Traps on Earth, in effect the 4th Anglagard album, and subsequently named it album of the year for 2018. It's definitely beatable, but at this time, no challengers have emerged. And now Jordsjo follows the same path with their 4th album Nattfiolen. No point in making the same statements as I have on the prior 2. We are talking old school, dyed-in-the-wool symphonic prog of the 1973 variety with no nods to modern instrumentation. Vintage is as vintage gets. Jordsjo isn't quite as strong as All Traps on Earth, but it's so difficult not to love this style of music, no matter who's performing it. But then again, I was always the top Sinkadus apologist.
This is Jordsjo's finest hour to date, and a very promising direction. For all other bands: It's OK if we have more than one album a year like this. Really.
Ownership: 2019 Karisma (CD). Booklet containing lyrics. Acquired in 2019.
Nattfiolen (2019)
This is Jordsjo's finest hour to date, and a very promising direction. For all other bands: It's OK if we have more than one album a year like this. Really.
Ownership: 2019 Karisma (CD). Booklet containing lyrics. Acquired in 2019.
7/21/19 (review)
Other albums I own: Jordsjø (2015-16); Jord (2017)
7/21/19 (new entry)
Tuesday, November 4, 2025
2025 Revisits of prior UMR entries Vol. 4
Continuing to enjoy my collection with reviews from the past.
Under the Dome - Demon Haunted World
Taivaantemppeli - Jazz Liisa 02
Bernd Kistenmacher - Kaleidoscope
Monday, November 3, 2025
Sacred Oath ~ USA ~ Connecticut
A Crystal Vision (1987)
---11/17/18
One of those oddball US metal albums from the mid to late 80s. Technically in the US Power Metal category, this one is really rough around the edges, with high pitched vocals and many ideas and changes per song. Excellent dual guitar playing as to be expected. A bit like an unpolished Fates Warning, who were a neighboring band in their native Connecticut. The production is pretty cheap and the drums are thuddy, but it's hard not to love stuff like this. CD adds four bonus tracks, of which two are 1997 re-recordings from this album, and allows the listener a chance to hear the material with a better production, and proves the songwriting is solid. The other two are also re-recordings of tracks that weren't on their debut but were part of their repertoire.
---11/3/25
Had this review buried in a long unpublished journal, before I consolidated what I wanted to accomplish with them. As you can tell by my modern journals, I'm completely worn out with these slick and polished Dream Theater clones. Sacred Oath is the antidote to that. The vocals have this schizophrenic King Diamond meets Anacrusis charm about them. High pitched than growl, but not death growls, just gravelly sounding. Fates Warning is the correct reference, though not circa 1987. More like how they would have sounded before Night on Brocken with progressive structures taken from The Spectre Within. I've seen Mercyful Fate thrown out there as a reference and that's accurate as well. The music presented here is entirely refreshing to the ears. It seems they have no idea what they are doing, and not sure they do, but thank goodness for that. I love the randomness on how the music develops, but it's all within the rails. I also appreciate their sound, once again on the dirty side, early 80s underground metal all the way. Can't imagine any modern band truly replicating this kind of album. It was "of the era". My era.
Ownership: 2001 Sentinel Steel (CD). Booklet with history, lyrics, and photos. Different artwork than the original album (shown here and also on the back of the booklet).
11/17/18 (acquired / review); 11/3/25 (update)
This was to be their only album from the 80s. They reformed and since 2005 have released eight albums. I haven't heard any of them. If I do, I'll report back here.
11/3/25 (new entry)
1960s-70s Psychedelic / Hard Rock Compilations
Psychedelic Minds Vol. 1 (2006)
I purchased this compilation on the strength of two tracks I'd heard already, both online. We'll link to those as we get to them. To the best of my knowledge there never was a Vol. 2 to the series, which is too bad, as these comps are the best way to get these insanely rare 45 cuts.
The comp opens with Blackrock, a mostly instrumental jam session from Memphis, Tennessee. There's a bit of that Del Jones freakout feel to the vocals. Super. Sound Machine takes us to the label's native Germany, where we don't hear many of these kind of psychedelic 45s, despite the enormous Krautrock output on LP. If blindfolded, I would have guessed this to be American. Another great fuzz blaster. Next up is Yesterday's Obsession from Port Arthur, Texas, home of Janis Joplin. This cut has the trippy psych sound down with airy vocals, vintage organ, and fuzz. Mastermind is next. A mystery group that seems to have no provenance nor a recording date. The labels don't provide enough data to work from. Though there is a similar publishing company from New Mexico, but could be unrelated. Another excellent psych piece. Now we get to the first track that I was familiar with. Review here for Sangre Mexicana from Laredo, Texas. The sixth track is from Cleveland's Bhagavad Gita, another one I own this time via the Beyond The Calico Wall comp (documented below). Nice laid back and trippy composition with piano and a nice fuzz solo at the end. One of the few 45s that finds its way to these compilations that isn't really that rare (though the pic sleeve is tough to score). Released on Philips and related to National Gallery. Back to the unknowns with Protein Bros, a driving heavy rock track from the Los Angeles area. Killer guitar here. Creaky organ and super heavy fuzz introduces us to Jonesboro, Arkansas' finest Purple Canteen. This is a title that will drain your pocketbook, and it's understandable as to why. It's exactly this sound that has crate diggers plowing through basements with spiders. This is followed by Los Nuevos Shains, back when Peru was allowed to let their freak flag fly. Though listed on the CD as 'Looking You', the track is technically called 'Mirandote'. It's a goodie. That takes us to the second song I was familiar with, this time from the French group The Blow Mind. Review here. The compilation closes with the only two sider presented in full. Dirty Filthy Mud, from Oakland, California, released this one 7 inch, and it's the rarest 45 presented here, going for $2K. The A side, placed at the end of the comp, is the banger. Everything is freaked out here, including some early use of synthesizer. A precursor to Brainticket.
Ownership: 2006 World In Sound (CD). Poster booklet includes short narratives for each group. Label and archival photos are provided as well. Acquired in 2025.
11/3/25 (review)
Psych Funk Sa-Re-Ga! (2010)
Psych Funk Sa-Re-Ga! (2010)
As I noted on those African comps from Now Again, I really enjoy these compilations of obscure cuts from areas of the world not known for rock music. In this case, India. Especially when you get a thick booklet chock full of interesting liner notes for each artist and piece. Most of these come from Bollywood soundtracks, a genre known as Filmi. Not particularly psychedelic or funky, but the title isn't misleading either. Unique but rather conservative on the whole. Atomic Forest being the primary exception, and they are quite famous for just that.
Brazilian Guitar Fuzz Bananas (2010)
There was quite a bit of buzz on this title when it first came out. I listened to it at the time and thought it was good, but nothing really special. In acquiring the CD for the first time recently, I sat down again with it and enjoyed a +1 listen, but it still fell short of my rather lofty expectation. Part of that is the title of the set and the hype that comes with it (yes... hype). To level set the perspective I'm coming from: I wasn't really a 45 guy until the last five years or so. And that was driven by similar compilations to Brazilian Guitar Fuzz Bananas. These mostly American comps really delivered the goods. The best of the best of fuzz psychers. Each track an adrenalin rush filled with raging guitars and teenage angst. I've since found some unknowns on my own, adding to the allure the genre can bring.
Michigan Mayhem! Volume 2 (2001)
I've really come to enjoy these 45 comps. They're a great way to obtain super rare artifacts - all in one place - for pennies on the dollar (even at retail, much less for a couple of bucks). And this one has short historical comments for each entry. There are 29 cuts (mostly one each from an SP) - all of them new to me. Great sound, and it appears the compiler worked with some of the original labels. This didn't have the usual scratchy 45s from the collection. I'm not a huge garage fan, preferring the psychedelic successor. But this collection is remarkably consistent, and there is some bleed over into psych, especially the more punky tracks. Not a dud among any of the tracks presented here - all from (or related to) the state of Michigan. Most of these are from 1965 and '66, and the ones that go beyond tend to be the more developed. While listening, I looked up each 45. Every one of them is rare as hen's teeth, and cost a small fortune. That's quite a collection. Of course, I'd love to find any of these in the wilds. Ownership: 2001 private (CD). Acquired in 2021.5/10/21; 1/7/22 (review)
Psychedelic Gems 3 (1997)
When Psychedelic Gems 3 was released, it proved to be a goldmine of unreleased material. Having almost nothing in common with each other, the three bands represented here nonetheless proved to be an interesting combo. The problem is - it was a short lived situation. My Solid Ground's 25 minute track quickly found itself on a Second Battle CD reissue from the same year of release (1997). Werwolf followed seven years later, as Black Rills reissued the Laser's Edge version of Creation, but with these three tracks appended. Those I'll cover (or have covered) in their own respective entries. The only track left then is Mr. Grabstein, which is an excellent hard driving Krautock number, recalling early efforts by Message and Grobschnitt. It's eight minutes long - so is that worth keeping this CD for? Not on its own. But the entire package remains of interest. This is the only place, that I'm aware of, that covers My Solid Ground's history (certainly Second Battle never seemed interested in such things). Werwolf's liner notes were copied verbatim into the Black Rills CD, but the photos were not. And of course Mr. Grabstein is also well documented. Would be great to hear more from Mr. Grabstein that's for sure.Former ownership: 1997 Garden of Delights (CD). Acquired in 1997. Downsized in 2024.
Obsession (2008)
A strikingly great psychedelic compilation from various corners of the globe, including Turkey, India, and South America. India's Atomic Forest contains an incendiary fuzz sound that I've not heard since Fire's Could You Understand Me. Turkey's reps include the familiar Erkin Koray from a wonderful obscure 45 side, and the oud master Arif Sağ, who apparently for a short time in the early 70s enjoyed plugging in and added psychedelic effects to the traditional Turkish lute. Ersen also gets a swing of the bat, to great success.
South America is primarily represented by Brazil with Peru, Uruguay, and Argentina all participating. As expected, most of these cuts come from incredibly rare 45s and albums, and are uniformly great. The kicker has to be Sonora Casino, who normally play in a traditional Peruvian style. Their contribution to psychedelia is 'Astronautas A Mercurio' which not only drifts from the comfortable Cumbia sound, but is one of the most whacked out psychedelic tracks I've ever heard. Stunning really.
A reasonably well titled compilation, though I'd submit it's more psychedelic influenced than funk, to be honest. This fine comp brings together a host of well known bands, but the track style isn't necessarily what one would associate with these groups. The music ranges from pop to rock to, yes, funk. The primary glue here is the psychedelic guitar and production effects. Most Hungarian albums I've heard from the 60s and 70s tend to be fairly conservative, yet this compilation indicates that the country might have been just as unhinged as West Germany during this era. It wasn't - not in recorded form anyway. From that perspective, the compilation has done its job, and extracted the best of the best. Recommended.
Ownership: 2008 B Music (CD). Booklet with full histories of each artist plus a thesis on the scene in general. Acquired in 2020.
Warfaring Strangers: Darkscorch Canticles (2014)
I can't get enough of these 45 / 7" compilations. This one features 1970s hard rock and early heavy metal bands. Almost every track a winner, with great riffs, solos, and sinister vocals. I'd love to find some of these 45's, but woooo, off the charts rare. Maybe I'll find a couple of them in someone's garage one day. I'm sure they are all out on YouTube because of this comp. Sample a couple to see what I mean about the quality, and then buy this. Well worth your collection space.
Aliens Psychos & Wild Things Volume Fore is a bit different than some of the other fuzz blaster 45 comps I've written about recently. For this selection, we start in the mid 60s. Mostly these are forward looking garage bands with some guitar bite. By the time we get to the 1967 acts, the garage goes full-on psychedelic. As with every comp I purchase, there's that one single I heard on YouTube and then begin to look for availability on CD. In this case, the bait was Sound Expedition's 'Ultimate Power', a single I wrote about somewhere in here. That lead me to this comp, and the reviews from reliable like-minded collectors encouraged me to buy it.
As I do with all these comps, I research each 45 as I hear them. And once again, the obscurity level on these is incredibly high. There's also some unreleased material here, primarily at the early stages. One interesting notable - there's a band here called Groop Therapy (incidentally that's who is on the front cover - a bit reminiscent of the B-52's). And I swear they sound like a proto Stereolab. And as we know, Stereolab often referred to themselves as The Groop. Did they know about this ridiculously obscure band? Noooo. Well maybe?
One other interesting tidbit is that many of these bands are from the American southeast, Virginia in particular. Not the first region folks go looking for psychedelic music, but proved once again, that the whole country was turned on in the late 60s, and unfortunately those that controlled all missed it.
This CD comes courtesy of RYM's own psychedelic collector guru Tymeshifter, who was kind enough to send me a copy after seeing my review of The Purple Sun track from another compilation. As someone who never bothered to collect 45s in their prime - and since I was a prog guy, it would have been odd to do so - these compilations have proven to be a goldmine of great music.
After some 20 years of dormant physical crate digging on my part (mostly sticking to the online world of ebay and the like), I attacked 2019 with fervor (primarily because my current job situation gives me more flexibility and time than in the past). And 45's have been the area where I've had the greatest finds - as well as the greatest disappointments. In terms of dollars that is. I'm way in the black on my investments, and yet 85% of what I've bought is still here awaiting to be sold. What is fun though is that you can buy 50 seven inches for $50, and walk away with $500, and still have 48 left to sell, most of them for 25 to 50 cents each - or just donate them back to the local thrift shop (where you were likely to have found them in the first place). A fascinating situation. And every day I learn of new rarities, especially in the soul, garage, reggae, and rockabilly fields. It's endless folks. For most of us anyway.
I bring this topic up here on the For a Few Fuzz Guitars More review, because it just underscores what an astounding collection Tymeshifter possesses. I could go the rest of my life searching only for rare psych and garage and maybe I'd turn up 5% of what he owns. Fortunately he's shared some of his rarest gems with all of us. Even though this was released 17 years ago, many of these 45s still remain complete unknowns.
There are thre tracks here that I owned already (own = CD, not original). The aforementioned Purple Sun is one of course. Peacepipe is another, as it is part of the Shadoks CD reissue from the same year (2002). I'll say this, any compilation that features 'The Sun Won't Shine Forever', that will be the best track on the album. It's one of those hair raising tracks we all live to hear. And finally the Sub track is on the Garden of Delights CD reissue (extended), as well as being part of the In Concert album itself. Sub also represents another exception here: It's the only non USA track to be featured (they're German).
As for the rest, they are remarkably consistent in their greatness. If you like the fuzzier spectrum of psychedelic music, like I do, then add this comp to your buy list. I researched each 45, and some of them are crazy obscure. The Dystraction, Sounds Synonymous, Super Band, Velvet Haze, Golden Grass, and White Lightnin' are just a few examples of this. The latter comes from nearby (to me) Pueblo (CO) so maybe I'll luck out and find that one someday. We can always hope that any of these bands have more music in a canister somewhere.
Ownership: 2002 DMT (CD). Booklet with scans of all the 45s contained within. Acquired in 2019.
If you're into the heavy psych sound of the late 60s and early 70s, then this is another essential compilation. Most of these type of comps center solely on 45s and one particular country (usually the US). But in this case, it includes some European bands as well, and not everything is from a 45. The album cuts are relatively easy to secure in reissue format (Gift, Bulbous Creation), though the Goliath remains obscure. As for the others, it's revelatory. I bought this CD on the strength of The Purple Sun track, and the others are similar in style. Best I can tell, most of these tracks have never been reissued before, outside of bootlegs (if even that).
Comes with a fantastic booklet with a full history of each group, not just the usual anecdotes and collector's reflections.
Ownership: 2017 Numero Group (CD). Acquired in 2019.
Well... this CD gives the buyer exactly what it says on the tin: An overdose of heavy psych. 25 psych singles (mostly singles anyway) from late 1960s North America, with an abundance of fuzz guitar being the glue that holds this one together. Unlike many compilations that have extreme highs - and lows - this one is remarkably consistent. I would argue that 95% of the material here falls within the very good to excellent category, and if you're a fan predisposed towards the fuzzy side of psych (oh you know - like me), then this is a compilation you'll want to pursue. The lowest point would be IRA, only because they ape Hendrix note for note, but still a good track. The sublime highlights include the relatively lengthy Glass Sun from Michigan, which demonstrates more ideas and a light progressive slant - and The Firebirds' 'No Tomorrows' which is about as heavy as anything released by this date, challenging Blue Cheer for California bestial supremacy. This latter band, and its pseudonym The 31 Flavors, is a revelation for me. I had seen this album for years, saw the title Light My Fire, and just presumed it was another exploito covers album. Well it was an exploitation album technically, but they didn't cover The Doors hit, and these six tracks prove that they were a very enlightening studio backup outfit.
1997 Arf! Arf! (CD). full booklet detailing what the author knew about the bands as of 1997. The sound quality ranges from masters tape to scratchy 45s from his collection. Acquired in 2019.
The primary reason I sought out this compilation CD is the full inclusion of the Bag single, which I consider one of the highlights of the Dutch progressive psychedelic scene. And the fact that Group 1850 has one of their more obscure singles here (though I already own it as part of a larger Group 1850 CD compilation), I figured there were more gems to be uncovered.
And... I was right. Though truth be told, nothing here equaled or surpassed 'Tripdream', 'Nothing Will Remain', and 'Don't Let it Be'. For my tastes, the other great tracks found here come from Names & Faces, Cinderella, Crown's Clan, Phoenix, and Crying Wood. And there are no stinkers, everything is at least "good".
Ownership: 2010 Otherside (CD). English liner notes. Acquired in 2019.
The gimmick of this compilation is to find the weirdest and wackiest psychedelic sounds of the mid to late 1960s. Some are rare 45's, others are taken from albums, and there's even a modern cut by a band lead by the compiler.
And Erik Lindgren succeeded at doing just that! Which doesn't necessarily mean it's a great comp throughout, but you're almost guaranteed to find a few nuggets depending on your filters. I suppose some folks will just be turned off in general, but one would question why they are listening to such a comp in the first place.
For my tastes, I'm going to be looking for some compositions within the madness. With that, there are two brilliant pieces, one each from Spontaneous Generation and Duffy. In the merely great column, I would add Park Avenue Playground, Afterglow (whose sole album isn't nearly this good or radical as this track would indicate), The Pebble Episode, Bhagavad Gita, and Raik's Progress. Otherwise the tracks range from very good to average to disappointing (least favorite: The Waterproof Tinkertoy).
A keeper for sure, but its consistency is only in the inherent weirdness among the tracks.
Ownership: 1993 Voxx (CD). Booklet with liners about each track. Acquired in 2019.
St. Albert's Dream (2013)
This is a fantastic compilation of obscure 45's, and unreleased archival material. No duff tracks, everything in the pocket as it were. This to me anyway, is the perfect type of compilation. All non album tracks, superb music, and all very hard to find. Unfortunately like the Devil's Kitchen on the same label, no historical data was provided, which would have enhanced the overall product that much more. Of course, I'm grateful for the music period, so we'll just have to do the rest on our own. This comp is of the "heavy psych" variety, which is a personal favorite genre of mine as well.
Greylock Mansion were from Tucson, Arizona (home base of the LSD label) and released two 45s in 1970 on Dynamic Records. This track is one of the highlights of the compilation.
Butter (not Butler as designated here) - no idea? Says unreleased master tape from Roger Jones (1972).
Jerimiah are reputed to be related to Brother L Congregation, and were from Victoria, Texas (southwest of Houston, and southeast of San Antonio, near the Gulf Coast). This track came out on the Kumquat label as a 45 single (1969).
Weasel comes from a 45 on Westpark Records, a division of Soundville out of Houston, Texas. So we'll presume they were from there (1969).
Wheatridge - no idea again. Says "uncredited acetate" (1970).
Oracle were another band from Tucson, though I can find no evidence of where this track comes from (1972).
Brand X (hmm sounds familiar... but no) were from Indianapolis and released this track on a 45 on Steel Breeze Records (1970). This is another highlight of the comp.
Mechanical Switch were from the small south Texas town of El Campo between Victoria and Houston. This track is on a 45 on Bag One Way Records (Feb 1969 according to one source).
Murphy's Law - This track is a Uriah Heep cover from their 1971 Look at Yourself album (and sounds a lot like a demo version of Uriah Heep actually with trumpet added). Date listed is 1972 and looks like it's from El Paso.
Sleepy Hollow were from Phoenix, Arizona and released this track on a 45 from ECI Records (1969).
Frozen Sun were yet another band from Tucson. This track was on a 45 from the Capt. Zoomar label (1969).
Ownership: 2013 Lysergic Sound Distributors (LP). Acquired in 2015.
Psychedelic Gems is the first in a series from Garden of Delights covering the vast amount of 45's and unreleased material from Germany's psychedelic past. These artists, at least on Volume 1, are definitely distinguished from their peers that played in the style now widely known as Krautrock. This set is more like what was coming out in the US and UK during the late 60s psychedelic rock boom, and would have to be considered dated even in their own day.
Dom (1972). Not related to the group who released Edge of Time. This band released one 45 single (Newcomer label) that is straightforward instrumental psych rock, with some excellent guitar with plenty of effects added for good measure.
Pax Vobis (1972). First track is very much like the Doors. The other three are instrumental, and similar, minus the Morrison styled vocals. Superb organ (older vintage) work here. Two tracks are unreleased prior (the other two were on Soundfire - what a great name for a label!). I quite liked this group myself, and consider them the highlight of the compilation.
The Ooze (1970). Continues in a similar manner, though with much more of an Iron Butterfly and Vanilla Fudge influence. Great organ and fuzz guitar leads. Both tracks from a 45 on the CCA label.
The Devils (1973). All three tracks were unreleased prior. First track has a bit of an electronic edge recalling Friend Sound at their most coherent. After that it's hardly more than surf rock, and a sound that is outdated by at least seven years at this point (though the electronics fortunately do reappear on Darkness). Definitely the low point of the compilation.
Blues Ltd. (1971). 45 single on Progressa. Not surprising, this bunch go for more of a blues psych sound. Hearing some Procol Harum on this, and the added sax even gives off a whiff of Xhol Caravan, especially considering the progressive nature of the recoding - the first (and only) indication of a Krautrock sound found on here.
Scramp (1972). Like Dom, this one was a 45 on Newcomer. And like Dom, it's way past its shelf life, sounding like a US punk psych band from 1968. Which is to say - it's pretty good actually!
Ownership: 1996 Garden of Delights (CD). Full liner notes. Technically GoD named the label Psychedelic Gems. Acquired in 1996.
1996; 11//04; 7/3/15 (review); 6/16/25
Ownership: 2010 World Psychedelic Funk Classics (CD). Acquired in 2024.
8/6/24 (review)
There was quite a bit of buzz on this title when it first came out. I listened to it at the time and thought it was good, but nothing really special. In acquiring the CD for the first time recently, I sat down again with it and enjoyed a +1 listen, but it still fell short of my rather lofty expectation. Part of that is the title of the set and the hype that comes with it (yes... hype). To level set the perspective I'm coming from: I wasn't really a 45 guy until the last five years or so. And that was driven by similar compilations to Brazilian Guitar Fuzz Bananas. These mostly American comps really delivered the goods. The best of the best of fuzz psychers. Each track an adrenalin rush filled with raging guitars and teenage angst. I've since found some unknowns on my own, adding to the allure the genre can bring.
Now we're in Brazil. The land of Gal Costa, Som Imaginario, Os Mutantes, Modulo 1000, and Lula Cortes & Ze Remalho. Combine the US experience of 45s with the albums of the aforementioned groups, and this CD should be phenomenal. But it's really not. Which is different than saying it's a waste of time or not any good. If it was that, I wouldn't bother to feature it. Brazilian Guitar Fuzz Bananas is a very good and varied selection of obscure (as in seriously obscure) bands from Brazil putting out interesting, if somewhat underwhelming material. In this way, it reminds me of those comps I just covered in Nigeria and Zambia. Though this is definitely more psychedelic influenced, and Brazil had a fascinating and established culture happening in the late 60s. For the finest hotels you were getting Astrud Gilberto and Sergio Mendes. In the underground were Loyce e Os Gnomes, perhaps the finest group on offer here. Considering the overall package, this still is well worth acquiring for historical deep divers.
Ownership: 2010 WPFC (CD). Digipak with a full history for each artist. WPFC stands for World Psychedelic Funk Classics and were based in Cheyenne, Wyoming (what???). Acquired in 2023.4/12/23 (review)
I've really come to enjoy these 45 comps. They're a great way to obtain super rare artifacts - all in one place - for pennies on the dollar (even at retail, much less for a couple of bucks). And this one has short historical comments for each entry. There are 29 cuts (mostly one each from an SP) - all of them new to me. Great sound, and it appears the compiler worked with some of the original labels. This didn't have the usual scratchy 45s from the collection. I'm not a huge garage fan, preferring the psychedelic successor. But this collection is remarkably consistent, and there is some bleed over into psych, especially the more punky tracks. Not a dud among any of the tracks presented here - all from (or related to) the state of Michigan. Most of these are from 1965 and '66, and the ones that go beyond tend to be the more developed. While listening, I looked up each 45. Every one of them is rare as hen's teeth, and cost a small fortune. That's quite a collection. Of course, I'd love to find any of these in the wilds. Ownership: 2001 private (CD). Acquired in 2021.5/10/21; 1/7/22 (review)
When Psychedelic Gems 3 was released, it proved to be a goldmine of unreleased material. Having almost nothing in common with each other, the three bands represented here nonetheless proved to be an interesting combo. The problem is - it was a short lived situation. My Solid Ground's 25 minute track quickly found itself on a Second Battle CD reissue from the same year of release (1997). Werwolf followed seven years later, as Black Rills reissued the Laser's Edge version of Creation, but with these three tracks appended. Those I'll cover (or have covered) in their own respective entries. The only track left then is Mr. Grabstein, which is an excellent hard driving Krautock number, recalling early efforts by Message and Grobschnitt. It's eight minutes long - so is that worth keeping this CD for? Not on its own. But the entire package remains of interest. This is the only place, that I'm aware of, that covers My Solid Ground's history (certainly Second Battle never seemed interested in such things). Werwolf's liner notes were copied verbatim into the Black Rills CD, but the photos were not. And of course Mr. Grabstein is also well documented. Would be great to hear more from Mr. Grabstein that's for sure.Former ownership: 1997 Garden of Delights (CD). Acquired in 1997. Downsized in 2024.
1997; 12//04 (review); 1/21/21 (update)
A strikingly great psychedelic compilation from various corners of the globe, including Turkey, India, and South America. India's Atomic Forest contains an incendiary fuzz sound that I've not heard since Fire's Could You Understand Me. Turkey's reps include the familiar Erkin Koray from a wonderful obscure 45 side, and the oud master Arif Sağ, who apparently for a short time in the early 70s enjoyed plugging in and added psychedelic effects to the traditional Turkish lute. Ersen also gets a swing of the bat, to great success.
South America is primarily represented by Brazil with Peru, Uruguay, and Argentina all participating. As expected, most of these cuts come from incredibly rare 45s and albums, and are uniformly great. The kicker has to be Sonora Casino, who normally play in a traditional Peruvian style. Their contribution to psychedelia is 'Astronautas A Mercurio' which not only drifts from the comfortable Cumbia sound, but is one of the most whacked out psychedelic tracks I've ever heard. Stunning really.
Ownership: 2008 Bully (CD). Short notes on each band and piece of music. Acquired in 2020.
7/30/20 (review)
Well Hung (2008)
Ownership: 2008 B Music (CD). Booklet with full histories of each artist plus a thesis on the scene in general. Acquired in 2020.
7/30/20 (review)
I can't get enough of these 45 / 7" compilations. This one features 1970s hard rock and early heavy metal bands. Almost every track a winner, with great riffs, solos, and sinister vocals. I'd love to find some of these 45's, but woooo, off the charts rare. Maybe I'll find a couple of them in someone's garage one day. I'm sure they are all out on YouTube because of this comp. Sample a couple to see what I mean about the quality, and then buy this. Well worth your collection space.
While there are some great compilation labels, none are better than Numero in my estimation. The fact that they provide full histories of each group, including their respective participation, is nothing short of extraordinary. They really work hard on these comps. There are two tracks - one each by Wizard and Medusa - that are album cuts, the latter an archival release from Numero themselves. But the rest are hyper rare singles.
Ownership: 2014 Numero Group (CD). See above. Acquired in 2020.
5/12/20 (review)
Ownership: 2014 Numero Group (CD). See above. Acquired in 2020.
5/12/20 (review)
Aliens Psychos & Wild Things Volume Fore (2007)
As I do with all these comps, I research each 45 as I hear them. And once again, the obscurity level on these is incredibly high. There's also some unreleased material here, primarily at the early stages. One interesting notable - there's a band here called Groop Therapy (incidentally that's who is on the front cover - a bit reminiscent of the B-52's). And I swear they sound like a proto Stereolab. And as we know, Stereolab often referred to themselves as The Groop. Did they know about this ridiculously obscure band? Noooo. Well maybe?
One other interesting tidbit is that many of these bands are from the American southeast, Virginia in particular. Not the first region folks go looking for psychedelic music, but proved once again, that the whole country was turned on in the late 60s, and unfortunately those that controlled all missed it.
Ownership: 2007 Arcania (CD). Full band histories on most the groups presented. And with a touch of humor as well. Also worth stating that the sound quality here is better than the usual scratchy copies that often make up these kind of comps. Acquired in 2019.
12/12/19 (review)
For a Few Fuzz Guitars More (2002)
After some 20 years of dormant physical crate digging on my part (mostly sticking to the online world of ebay and the like), I attacked 2019 with fervor (primarily because my current job situation gives me more flexibility and time than in the past). And 45's have been the area where I've had the greatest finds - as well as the greatest disappointments. In terms of dollars that is. I'm way in the black on my investments, and yet 85% of what I've bought is still here awaiting to be sold. What is fun though is that you can buy 50 seven inches for $50, and walk away with $500, and still have 48 left to sell, most of them for 25 to 50 cents each - or just donate them back to the local thrift shop (where you were likely to have found them in the first place). A fascinating situation. And every day I learn of new rarities, especially in the soul, garage, reggae, and rockabilly fields. It's endless folks. For most of us anyway.
I bring this topic up here on the For a Few Fuzz Guitars More review, because it just underscores what an astounding collection Tymeshifter possesses. I could go the rest of my life searching only for rare psych and garage and maybe I'd turn up 5% of what he owns. Fortunately he's shared some of his rarest gems with all of us. Even though this was released 17 years ago, many of these 45s still remain complete unknowns.
There are thre tracks here that I owned already (own = CD, not original). The aforementioned Purple Sun is one of course. Peacepipe is another, as it is part of the Shadoks CD reissue from the same year (2002). I'll say this, any compilation that features 'The Sun Won't Shine Forever', that will be the best track on the album. It's one of those hair raising tracks we all live to hear. And finally the Sub track is on the Garden of Delights CD reissue (extended), as well as being part of the In Concert album itself. Sub also represents another exception here: It's the only non USA track to be featured (they're German).
As for the rest, they are remarkably consistent in their greatness. If you like the fuzzier spectrum of psychedelic music, like I do, then add this comp to your buy list. I researched each 45, and some of them are crazy obscure. The Dystraction, Sounds Synonymous, Super Band, Velvet Haze, Golden Grass, and White Lightnin' are just a few examples of this. The latter comes from nearby (to me) Pueblo (CO) so maybe I'll luck out and find that one someday. We can always hope that any of these bands have more music in a canister somewhere.
Ownership: 2002 DMT (CD). Booklet with scans of all the 45s contained within. Acquired in 2019.
11/30/19 (review)
Warfaring Strangers: Acid Nightmares (2017)
Comes with a fantastic booklet with a full history of each group, not just the usual anecdotes and collector's reflections.
Ownership: 2017 Numero Group (CD). Acquired in 2019.
9/14/19 (review)
An Overdose of Heavy Psych (1997)
1997 Arf! Arf! (CD). full booklet detailing what the author knew about the bands as of 1997. The sound quality ranges from masters tape to scratchy 45s from his collection. Acquired in 2019.
2/17/19 (review)
Fantasio Daze (2010)
And... I was right. Though truth be told, nothing here equaled or surpassed 'Tripdream', 'Nothing Will Remain', and 'Don't Let it Be'. For my tastes, the other great tracks found here come from Names & Faces, Cinderella, Crown's Clan, Phoenix, and Crying Wood. And there are no stinkers, everything is at least "good".
Ownership: 2010 Otherside (CD). English liner notes. Acquired in 2019.
1/11/19 (review)
Beyond the Calico Wall (1993)
And Erik Lindgren succeeded at doing just that! Which doesn't necessarily mean it's a great comp throughout, but you're almost guaranteed to find a few nuggets depending on your filters. I suppose some folks will just be turned off in general, but one would question why they are listening to such a comp in the first place.
For my tastes, I'm going to be looking for some compositions within the madness. With that, there are two brilliant pieces, one each from Spontaneous Generation and Duffy. In the merely great column, I would add Park Avenue Playground, Afterglow (whose sole album isn't nearly this good or radical as this track would indicate), The Pebble Episode, Bhagavad Gita, and Raik's Progress. Otherwise the tracks range from very good to average to disappointing (least favorite: The Waterproof Tinkertoy).
A keeper for sure, but its consistency is only in the inherent weirdness among the tracks.
Ownership: 1993 Voxx (CD). Booklet with liners about each track. Acquired in 2019.
1/11/19 (review)
St. Albert's Dream (2013)
This is a fantastic compilation of obscure 45's, and unreleased archival material. No duff tracks, everything in the pocket as it were. This to me anyway, is the perfect type of compilation. All non album tracks, superb music, and all very hard to find. Unfortunately like the Devil's Kitchen on the same label, no historical data was provided, which would have enhanced the overall product that much more. Of course, I'm grateful for the music period, so we'll just have to do the rest on our own. This comp is of the "heavy psych" variety, which is a personal favorite genre of mine as well.
Greylock Mansion were from Tucson, Arizona (home base of the LSD label) and released two 45s in 1970 on Dynamic Records. This track is one of the highlights of the compilation.
Butter (not Butler as designated here) - no idea? Says unreleased master tape from Roger Jones (1972).
Jerimiah are reputed to be related to Brother L Congregation, and were from Victoria, Texas (southwest of Houston, and southeast of San Antonio, near the Gulf Coast). This track came out on the Kumquat label as a 45 single (1969).
Weasel comes from a 45 on Westpark Records, a division of Soundville out of Houston, Texas. So we'll presume they were from there (1969).
Wheatridge - no idea again. Says "uncredited acetate" (1970).
Oracle were another band from Tucson, though I can find no evidence of where this track comes from (1972).
Brand X (hmm sounds familiar... but no) were from Indianapolis and released this track on a 45 on Steel Breeze Records (1970). This is another highlight of the comp.
Mechanical Switch were from the small south Texas town of El Campo between Victoria and Houston. This track is on a 45 on Bag One Way Records (Feb 1969 according to one source).
Murphy's Law - This track is a Uriah Heep cover from their 1971 Look at Yourself album (and sounds a lot like a demo version of Uriah Heep actually with trumpet added). Date listed is 1972 and looks like it's from El Paso.
Sleepy Hollow were from Phoenix, Arizona and released this track on a 45 from ECI Records (1969).
Frozen Sun were yet another band from Tucson. This track was on a 45 from the Capt. Zoomar label (1969).
Ownership: 2013 Lysergic Sound Distributors (LP). Acquired in 2015.
12/6/15 (review)
Psychedelic Gems (1996)
Dom (1972). Not related to the group who released Edge of Time. This band released one 45 single (Newcomer label) that is straightforward instrumental psych rock, with some excellent guitar with plenty of effects added for good measure.
Pax Vobis (1972). First track is very much like the Doors. The other three are instrumental, and similar, minus the Morrison styled vocals. Superb organ (older vintage) work here. Two tracks are unreleased prior (the other two were on Soundfire - what a great name for a label!). I quite liked this group myself, and consider them the highlight of the compilation.
The Ooze (1970). Continues in a similar manner, though with much more of an Iron Butterfly and Vanilla Fudge influence. Great organ and fuzz guitar leads. Both tracks from a 45 on the CCA label.
The Devils (1973). All three tracks were unreleased prior. First track has a bit of an electronic edge recalling Friend Sound at their most coherent. After that it's hardly more than surf rock, and a sound that is outdated by at least seven years at this point (though the electronics fortunately do reappear on Darkness). Definitely the low point of the compilation.
Blues Ltd. (1971). 45 single on Progressa. Not surprising, this bunch go for more of a blues psych sound. Hearing some Procol Harum on this, and the added sax even gives off a whiff of Xhol Caravan, especially considering the progressive nature of the recoding - the first (and only) indication of a Krautrock sound found on here.
Scramp (1972). Like Dom, this one was a 45 on Newcomer. And like Dom, it's way past its shelf life, sounding like a US punk psych band from 1968. Which is to say - it's pretty good actually!
Ownership: 1996 Garden of Delights (CD). Full liner notes. Technically GoD named the label Psychedelic Gems. Acquired in 1996.
1996; 11//04; 7/3/15 (review); 6/16/25
7/3/15 (new entry)
Thursday, October 30, 2025
2025 Metal Journal Vol. 2
Dreamscape - End of Silence. 2004 Massacre (CD). Back into that 2016 metal buy that I tackle every few months. There have been some gems in there, and sit comfortably in the collection. And a lot of Dream Theater clones. Here's another one, this time from Germany. It must have been mandated in Europe during the mid 2000s, that all prog metal bands must sound like Dream Theater. It is decreed. Rather than write a review here, let me find one I wrote already, and see if it applies. OK, here's one from the first 2025 Metal Journal: "Seventh Wonder - Waiting in the Wings. 2006 Lion (CD). Want to guess what this sounds like? Yep, more Dream Theater worship with a European power pop sensibility. These albums follow a pattern and they are instantly recognizable. By default they will nail a sequence or two that I find interesting. This isn't easy music to play and the band are to be commended for attempting the complexity. Problem for me is that it was done pretty much exactly in the same style a decade prior. But if you can't get enough of it, here's one more for you." Yep, that's about right. In a way I feel bad for dismissing these releases so easily. They are very good performers, across the board including the vocals, but does that mean I'm going to be excited to hear it again? Just the way it is. I have another title from these guys (from the same buy), we'll see how it goes whenever I get to it. (10/30)
Heretic - The Breaking Point. 1988 Metal Blade (LP). I picked up this LP online over five years ago primarily because it's the band that Metal Church's second vocalist Mike Howe came from. I remember the Los Angeles based Heretic from college, though they only had released an EP at that point, which I didn't hear. Musically, Metal Church is also a good guidepost. And you can certainly do worse than that. Melodic power metal, with touches of thrash abound. One of many bands from this era that had talent to burn, but without much corporate backing, only a few would survive and thrive. Howe would subsequently leave Heretic and join Metal Church, arguably their best vocalist, and propelling them to even greater heights. The Breaking Point is a very good album, definitely in my strike zone, though it doesn't stand out against the stiff competition that was the late 80s metal landscape. Since I don't really have any history with this album, and lacking any noticeable highs, I think I'll let this one fly and take the revenue. Though the various CDs are somewhat scarce, if I do find one in the wilds, I'll probably keep it. (10/27)
Explorers Club - Age of Impact. 1998 Magna Carta (CD). Someone around town has been dumping a very nice progressive rock collection (among other styles) into the thrift shops, all in minty condition. Not the hardcore international stuff that I, and many of you, collect. But rather the more commercialized and popular branch of the genre. Like Marillion, Steve Howe, Planet X, Magna Carta, and InsideOut labels, and other similar items. For a couple of bucks each, I'll buy them all without research and ask questions later. I have very little of this kind of prog featured in the UMR, but that doesn't mean I wasn't familiar with many of the albums. From the beginning actually. Explorers Club features the Gardner brothers, who were both in Magellan, the band that launched the label. Magna Carta was essentially the next gen prog version of Shrapnel. In discussions with both label owners back in the early 90s, it was clear they saw themselves as far more professional than the average amateur labels coming out of Sweden, Italy, or France. And objectively speaking they were probably correct in their assessment. Not that I saw it that way from an enjoyment perspective, and in fact I bristled at the notion real time. By the late 90s, the "prog rock community" was so far out of my interest area, that I barely felt part of it anymore. And that remains to this day. That's not a criticism, it's the reality of where my interests were versus others who enjoyed the same type of music. I wasn't looking for a social setting to connect and make friends. Where the familiar musician names garnered all the attention so as to not be controversial. Rather I was looking to gain knowledge and expand my experiences. I was a happily married fellow with a quickly progressing career. Music friends was where I was at in my 20s, not mid 30s. Different background that is to say. So back to Magellan. That wasn't our band. "Our" being the prog running set I was going with in the early 90s (i.e. in my 20s). I'm sure my ratings are far too low for where I'd be today, but I doubt they'd also find room in the collection. In parallel to the Magna Carta prog stable we had bands like Dream Theater reshaping the future of progressive metal to great success. Which gets us here to Age of Impact. Explorers Club is not a band but rather a project, which was a common occurence back then. Almost to the point of nausea. Filled with heavy hitters including Terry Bozzio, Steve Howe, Derek Sherinian, along with parts of Dream Theater and the Gardeners. I often wonder how my musical trajectory would have happened were I to come along about 10 years later. Would have this been "my scene?" In listening to Age of Impact I'm reminded as to why I didn't gravitate toward this music real time. By the late 90s I was long past this kind of professional gloss, looking more for something that I could relate to. Rougher, more melodic, more reckless. At age 61 I have far more appreciation of what they're doing here than when I was 33. It's almost a shame there's so much great music here, just not arranged for a satisfying whole. It's splattered all over the place, which is how projects usually go versus a cohesive band effort. Just listen to some of Petrucci's solos. They are magnificent. But not in the context of the song. Back in 1998 this CD would have resulted in an obligatory keeper, though not satisfying, thus constantly questioning my decision. I once had many CDs like this in the collection, ones that I have long since purged. Today it's easy for me to move on from it, while feeling glad I heard it without bias. Maybe it's the $2 factor versus $12 or whatever it would have cost new (+ postage). I'll probably add this to a page at some point, once I gather enough music like it. (8/18)
Ozzy Osbourne - Bark at the Moon. 1983 CBS (MC). I was an early adopter to Ozzy's solo career. He came around at the perfect time, bringing along a cast of A-list musicians, while he played up his madman routine. I picked up Blizzard of Ozz and Diary of a Madman upon release and saw them live in early 1982. By the time I hit college I had tired of Ozzy's schtick and had moved onto to heavier realms like Savatage, Manilla Road, and especially Metallica. It is at this time Bark at the Moon was released. Or as we joked back then: Bawk at the Moon. In reflection, the album is a perfectly legit specimen of down-the-middle heavy metal. Osbourne secured yet another great young talent on guitar after the tragedy of Randy Rhoads. That said, the music presented here was too mundane for the era, though Osbourne continued to rise in the charts. Artistically though, decline had set in. (6/28)
Moon of Steel - Insignificant Details. 2002 Steelheart (CD). Starting to dig into these boxes of sealed metal CDs. I'll check them out online first to see if they catch my ear. Did this one? Nope. Fairly standard issue European power metal, this time from Italy. The twist here is the pretty female vocals sung in mostly pleasant English. And these band names? Seems they pick random physical objects and put them together. Has Iron Sun been taken yet? (5/27)
Marillion ~ England
Radiation (1998)
At the bottom of this post, for the Brave album, I wrote: "I suspect later albums are going to be even of lesser interest to me, but I'll buy them as I find them in the wilds and report back."
And I have done just that, finding quite a bit of Marillion in the wilds for pennies. Some are live albums, so I just jettisoned them to the sale pile. As I write this, along with Radiation, I have three other studio titles found in the last year. When I get to them, I will report here my findings, though I suspect I won't have too much to offer for fans or curiosity seekers.
Because, as I predicted on Brave, I don't think these albums are going to do very much for me. Radiation is about as far away from my interest level as can possibly be, at least sporting a prog rock lens. It's more of an indie rock album, with some 70s classic art rock sounds. Mostly mellow and a bit of a slog to get through. Never really understood how my prog rock brethren managed to land on the sound that Marillion and others were peddling during this era. I was plugged into a different lamp it seems.
Apparently the 2013 remaster brings about a much better end product. I seriously doubt I would be swayed all that much, but who knows.
Source: 2001 Sanctuary UK (CD)
10/30/25 (review)
Fugazi (1984)
Going back to 1983: It had taken me a few listens to get into, but Script for a Jester's Tear ultimately won me over. So I was quite excited to obtain Fugazi as soon as it was released to the marketplace. I had yet to hear IQ and other bands coming from the neo prog camp - or what was starting to be referred to as the New Wave of British Progressive Rock. Therefore Marillion was my gateway drug into contemporary progressive rock. As their music went, so did my interest in it.
Misplaced Childhood (1985)
Brave (1994)
Going back to 1983: It had taken me a few listens to get into, but Script for a Jester's Tear ultimately won me over. So I was quite excited to obtain Fugazi as soon as it was released to the marketplace. I had yet to hear IQ and other bands coming from the neo prog camp - or what was starting to be referred to as the New Wave of British Progressive Rock. Therefore Marillion was my gateway drug into contemporary progressive rock. As their music went, so did my interest in it.
The opener 'Assassing' is an exhilarating piece, and had me thinking real time that this was going to be an album for the ages. But it quickly dropped off from there - at least in terms of energy level. It was something of a head fake - a distinctive turn to hard rock. Which in retrospect many of the neo prog bands were quite adept at. Ultimately I didn't even hold onto Fugazi, thinking it second rate prog for newbies, falling into that 90s crowd that turned their collective noses up at such twaddle. It wasn't until 2005 that I decided a revisit was in order. OK - now I get it.
Fugazi is a progressive rock album. There's a revelation, eh? Why I didn't have the patience for it initially is rather perplexing considering all the 70s albums I'd absorbed by then. Most of them not exactly easy listening. Perhaps because Marillion were a contemporary group - and they did after all start the album off guns-a-blazing - I guess I just wanted more of that. Rather Fugazi has all the trademarks of the neo prog genre with digital instrumentation, complex yet accessible compositions, and a Gabriel-esque vocal delivery. The reality is Marillion were a foundational group of the movement versus a follower. Major label exposure and subsequent sales totals only pushed the new genre into the limelight for the masses. It wasn't to last but the middle 80s held much promise, thanks to the efforts of Fish & Co.
For 2023, it brings in the whole 80s nostalgic pull. Of course I conveniently filter what I want from it, and I'm completely dishonest with myself on what the 80s reality truly was for me. Nothing beats rose colored glasses. You oughta buy a pair of 'em. +1 listen.
Ownership:1984 EMI UK (LP). Gatefold. Acquired in 2011.
1984 Capitol (MC). Acquired in 2026.
First copy: 1984 Capitol (LP). Acquired in 1984.
1984; 12//05; 4/23/23 (review)
Misplaced Childhood (1985)
I bought this new on LP (US version) when it first came out, as I was still quite the fan of Marillion. Real time, Script for a Jester's Tear had won me over on repeated attempts, and Fugazi on a lesser scale, so Misplaced Childhood was under evaluation from the beginning. I liked it - just enough. But ultimately it found itself on the sale pile with so many records of its ilk back in the 90s. Now for the last three years, I figured this might be an easy find on LP to try again, but no such luck. I have found it, but the dealers wanted too much, and I wasn't certain I would enjoy it, so I passed. When this CD showed up a thrift shop, I had to pull the trigger. And I'm happy to say that - perhaps no surprise - I'm getting more out of this now. Of course it's Neo Prog 101, and is just as much AOR music as it is Genesis-like prog. Whereas the latter was all I wanted back then - and certainly wouldn't complain today if it really was that way - my tolerance levels for 80s arena rock has gone up substantially. There's the combo of well written tunes and time-of-life remembrance. This is a CD that will likely be replaced with an LP, as that's where the nostalgia lies. And the UK originals are a gatefold versus the single sleeve American version. I think I'll splurge for that. We'll see (and that day arrived, locally at a record store no less, some five months later.)
Ownership:
Ownership:
1985 EMI UK (LP). Gatefold. Acquired in 2022.
First copy: 1985 Capitol (LP). Acquired in 1985.
1985; 3/26/22 (review)
Brave (1994)
In a parallel universe, I could see myself having stuck with Marillion and been a loyal fan to this day. In the life I chose, I remained loyal to IQ instead. There were a lot of parallels between the two bands from their beginning neo prog roots to their ultimate embracing of pop rock. Of course Marillion were far more popular with the general public, so it was much harder for them to retrace their steps. Steps that IQ proudly went back on and never lost their way again. Because I ultimately dropped Marillion at the time after Misplaced Childhood, I never heard another one of their albums, only adding Clutching at Straws many years after the fact. And with Marillion what that basically means is that I have no foundation whatsoever with the "Hogarth era". Even Fish will tell you that Hogarth has done an extraordinary job with the band, and it made no sense for him to return. To be honest, this album was much better than I thought it was going to be. It's not really my kind of progressive rock, definitely forged into the 90s model of mixing in commercial sounding pop and alt rock. But there was far more 80s neo prog in here than I thought there would be. Especially in the former half of the album. I almost kept it anyway. But I have no nostalgia here as I do for other bands of the era. And that's what would have been needed for me to continue on. I suspect later albums are going to be even of lesser interest to me, but I'll buy them as I find them in the wilds and report back.
Source: 1994 IRS (CD)
3/30/22 (review)
Also own: Market Square Heroes (EP); Script for a Jester's Tear; Clutching at Straws; Afraid of Sunlight; This Strange Engine; Sounds That Can't Be Made.
3/26/22 (new entry)
Monday, October 27, 2025
Dark Angel ~ USA ~ Los Angeles, California
Time Does Not Heal (1991)
Dark Angel were one of many metal bands I missed real time. Not sure why I didn't pick this album up at least, given that this was the one branch of metal I was still buying back then. That of technical thrash. About 15 years later, I picked up this used CD (very used it turns out, and can't even remember why I bothered to get it). My initial reaction wasn't positive, where I wrote the following notes: "An exhausting and messy thrash album with a bazillion riffs." Another decade after that, the album clicked with me in a big way. And here we are again, yet another decade on. I cannot even imagine how the vocalist could remember all the lyrics on Time Does Not Heal, they are so numerous. Genius level I would submit, though the trade off is he doesn't really sing, but rather recites in a monotonous way. He sings just as much as both guitarists fly through riff after riff. The album is famous for just that as it proclaimed rather boldly there are 246 riffs here. Is that some kind of record? Maybe, I have no idea. My initial cynical reaction was "246 riffs, and not one melody." That's true actually, which doesn't take away from my enjoyment here. It's also not very progressive really, more of a constant change of the riff, not the music or meters. Technical thrash is such a pleasure to hear when in the right mood. Especially if the production and guitar crunch is excellent, as it is here. You'd think something like Time Does Not Heal would be difficult to endure for 67 minutes. But it's not really - it flows rather nicely. And it never - I mean never - stops moving all over the place. I do think, though, taking one or two songs in a session will produce better results. These guys were insanely talented. Especially drummer Gene Hogland, who is considered an A-lister, and has participated with many collectives, just as in the jazz world. Interesting to note, despite the huge cult following the band has, this album is not considered one of their good ones even by their dedicated fans. And this was to be it for Dark Angel, until interestingly enough, last month (who knew?). Their new album has been met with serious derision. The opposite of another 80s / early 90s legend that recently reformed and I will be talking about (excitedly I hope) within the next month.
Ownership: 1991 Combat (CD). The microscopic lyrics take four pages of the foldout booklet.
5//05 (acquired); 5/22/16; 10/27/25 (review)
At one point I owned the two albums that preceded Time Does Not Heal. These are different in style and I didn't care for them. But I'm up for a revisit if and when I find them again.
10/27/25 (new entry)
Crosswind ~ Japan
Crosswind (1978)
Starting with an obvious funk groove, Crosswind quickly shifts into a kinetic fiery fusion with the guitar way out front. He plays in a highly melodic fashion, making these songs much better because of it. Space Circus at the time of Fantastic Arrival is a probably a good place to put your mind before setting this on the turntable. Return to Forever and Santana would appear to be references for the talented band. I'm sure Billy Cobham as well given their moniker. Keyboards are provided by a female, an unusual twist to the usual all-male groups of the genre. She brings more of an atmospheric approach rather than the chops heavy style of the guitarist. Considering the melodic approach to jazz rock, Crosswind could be considered a precursor to Kenso, minus the flute. A splendid album, and a must for fans of Japanese jazz fusion.
Ownership: 1978 Elbon (LP). With insert in Japanese.
3/14/16; 5/26/17 (acquired); 10/27/25 (review)
Crosswind would release three more studio albums and two archival live albums. I have not heard any of them, but wouldn't pass up an opportunity to do so.
10/27/25 (new entry)
Thursday, October 23, 2025
2025 Prog Journal
Transatlantic - SMPTe. 2000 InsideOut (CD). Transatlantic were one of those prog supergroups that were quite popular in the late 90s and throughout the 2000 decade. This was their debut and they still get together on occasion and release new material. I never bothered with any of these acts real time, so the thrift shop is coming in real handy to see what I missed. This collective brings key players from Dream Theater, Marillion, Spock's Beard, and The Flower Kings / Kaipa. So the band moniker is accurate. Not surprisingly the album opens up with a six part, 31 minute opus. They were absolutely going for prog street cred here. Opening impressions is that one hears retro prog, especially classic Yes, mixed in with the modern variation of said sound. Spock's Beard and The Flower Kings do seem to be the leading lights if looking for quick comparisons. Instrumentally the music is fantastic. Some of the vocals sections drag, especially when in chorus mode. The latter being the Neil Morse annoyance contribution. It would be easy to be cynical about such a release, especially coming from a hardcore underground perspective. But that's not fair at all, as these guys put together a very fine, professional release. One that clearly was carefully composed, rehearsed, and recorded. That doesn't mean this album is for me, however. There's something very contrived about it, and lacks that emotional and creative spark we get from the amateurs. But for those who are into "names", you really can't go wrong here. (10/23)
Family - Anyway. 1971 United Artists (LP). The story goes that Family weren't satisfied with their last studio album - failing to capture the band at their finest (a familiar argument). So for Anyway they split the album as half live and half studio even though it's all new material. The live side isn't recorded very well so that doesn't help. The other issue here is the tracks sort of fly by without notice. There's really not much that stands out - whether it's a memorable tune or a mind bending instrumental passage. I'm sticking Anyway in the prog section as I'm not really sure where else to put them. Maybe classic rock would have been better, though that's not their reputation. On the plus side, this album did reignite my interest in the band. I do have a couple of their albums already on CD, and now I picked up one of their recognized classics on LP. A feature may be coming soon (nope) (6/16).
*Steve Hackett - Clocks. 1979 Charisma (EP). The title track, coming from Spectral Mornings, is a super version featuring Novatron. You'll recognize many of the Genesis themes on 'Acoustic Set' utilizing only acoustic guitar and flute, and which seemingly has as much applause as music. 'Tigermoth' also comes from Spectral Mornings and is another fantastic rendition with heavy Moog, flute, and electric guitar. The last hurrah for Genesis and prog music. Have to keep this. Oh great - EP's as large as LPs and looking to downsize. (2/2)
Discus - ...Tot Licht! 2003 Gohan (CD). Collection revisit. Have you ever wondered what it would be like if you combined prog metal, avant prog, and 80s Japanese symphonic prog with female vocals? Yea, I hadn't really given that one much thought either. But if I did, Discus' second album would be the answer. Discus demonstrates a complete lack of focus and decides to give you as much progressive rock ideas as they can come up with on the fly. Genre hopping within the prog world was somewhat popular in the 2000s, and Indonesia's Discus were one of the leading lights, obscure as they may have been (though they did play live in North Carolina). Interesting that they also appear to be very religious, both Christian and Muslim together. In any case, a fascinating listen, but I don't feel albums like this. A familiar theme: Appreciation doesn't always translate to excitement. This version has a six minute bonus track. (1/6)
* - keeping for the collection
2025 Funk / Soul Journal
Willie Hutch - The Mack. 1982 Motown (LP) (1973). Famous blaxploitation flick, that is considered one of the best in the genre (I haven't seen it). The music follows course, as it's mostly heavy soul funk in the Isaac Hayes / Curtis Mayfield tradition. The sound is awesome, with funky wah wah guitar, tight horn charts, bright production, and some crooning from Hutch. Back when ghetto life was depicted as charming and almost laughable. Having lived through it myself in the late 70s and early 80s - being school bussed to the Projects, not to mention working in the industrial districts of the ghetto - I can tell you it was anything but charming. I only wish I'd appreciated the music I was subjugated to at the time. I do now at least. Which gets us back to The Mack's soundtrack. Good title, but not exceptional like Shaft or Superfly. Going to let it sell, which it should do quickly. (9/4)
Strictly Taboo - Playing with Fire. 1991 private (MC). One of many obscure cassettes I've picked up in the last few years. This came from a thrift shop in Albuquerque, which is where Strictly Taboo are from. Side 1 is mostly blues rock with light funk and smooth jazz touches. Female vocals are provided by Hillary Smith and she has a great voice. The guitarist is Steven Katz who seems to be the leader. He has a nice tone and recalls Stevie Ray Vaughan in his style. Rick Allen's sax is where the smooth jazz comes in. Side 2 is mellower with more of a jazz and sophisti-pop influence, and one can hear some Sade here given Smith's vocal approach. No documentation of this existing on tape as I write this, though the CD can be found in Discogs (sold out). I found the album online, and both Katz and Smith have pages out there. RYM: 3.0 (7/29)
The Foundations - Build Me Up Buttercup. 1968 Uni (LP). Found this curiosity at an estate sale recently. I was unfamiliar with the band, so why not try it? The Foundations were a UK group, and on Build Me Up Buttercup, they essentially play a type of soul rock. Not really psych, and certainly not funk. A little bit like The 5th Dimension but lacking in memorable hooks. Organ is the primary instrument with a smattering of horns. The songs become increasingly annoying, perhaps because I wanted them to develop in some form or fashion. But they never do and eventually the rating begins to slip. (7/18)
*Fela Kuti - Beasts of No Nation. 1989 Shanachie (MC). Now here's an artist I'd long forgotten about. Finding this tape at a thrift shop was also quite the surprise. And adding even further to the confusion (to use a Kuti title) is the album was released on Shanachie here in the States. A label I associate with Irish folk music like Planxty and The Chieftains. And well, one more crazy part of the puzzle: There are two different distinct releases of Beasts of No Nation. This one has two tracks. The other has the title track spread across both sides, one vocal, the other instrumental. It is the latter that was reissued by Knitting Factory to modern audiences. Back to Fela Kuti. I bought one of his 2-on-1 CDs at the height of his posthumous fame in the late 90s / early 2000s. While I enjoyed it, I did decide to move it out. And I was reminded why on Beasts of No Nation. As the cover suggests, Kuti was a radical political figure, already having been jailed by this time. And he was not to be silenced. The tracks set a deep funk groove (Afrobeat) with plenty of excellent tight horn charts. And then Kuti goes on his rant. Whether everything he sings is the gospel truth or the psychotic ramblings of a lunatic, one has to endure the duration as he goes on about it forever and a day. Still, those grooves. And to find this at a thrift shop. Way too cool. (6/26).
Sun - Sun-Power. 1977 Capitol (LP). When the album opened with rhythm guitar and tight horn charts, I thought I may have found my new favorite group. Especially given we have a full ten piece band here. But it quicky devolved into the typical funky soul disco of the day. Nothing really resonated with me. Sun-Power is the sophomore release from Dayton, Ohio based Sun. I was previously unfamiliar with them, but they had a nice seven album run on Capitol, no small feat. Later they added one more on the fledgling local Air City Records that also featured another Dayton area has-been: the Ohio Players. I'm up for hearing any and all, and will keep my eyes peeled, especially since many carry some value. (5/25)
Harvey Mason - Marching in the Street. 1975 Arista (LP). Mason is bumping against the perimeter of the type of music I really enjoy and keep. But the funk is too slick and friendly. I prefer a more raw sound. Mason's solo debut is better than Funk in a Mason Jar, but falls a few feet short of making the next round. (5/12)
Harvey Mason - Funk in a Mason Jar. 1977 Arista (LP). Clever title though a bit inaccurate. Light on funk and heavier on disco and smooth soul. It's not until A3 that my ears perk up. Guitarist Ray Parker brings out his inner Ernie Isley and Eddie Hazel. The album is filled with guests and this would be his sole cameo. Side 2 is better. The first two tracks have a nice smooth groove and B3 sounds more like the complex fusion of Return to Forever. Nice album but not an uncommon sound for 1977. (5/10)
Lifestyle - Katrina / Love Can Make You Cry. 1977 MCA (SP). Recently found two of these at a local thrift shop. 'Katrina' is a nice disco song with a sweet melody. The B) side is whiny soul and far away from my boundary. Got to let them both go. (2/15)
The Red Hot Chili Peppers - Freaky Styley. 1985 EMI Manhattan (MC). In the late 80s, when first hearing The Red Hot Chili Peppers, I thought they might be a band I could get into. It's still possible I might, but this is an earlier work and not considered a good one by fans of the band. It's as much rap as it is funk rock. But even the latter is lacking the groove and gravitas to pull it off. Sounds like a bunch of white junkies to me. (1/30)
* - Keeping for the collection
2025 Fusion / Jazz Journal Vol. 2
*Frank Zappa - Waka / Jawaka. 1995 Rykodisc (CD) (1972). I've debated putting up a page for Frank Zappa, but I don't think I can do the guy any justice. Everything I have to say about him, I've already documented in another journal entry for the Grand Wazoo album. As his albums roll in here, I think I'll just put them in the journals. Maybe if I compile enough of them, and have something unique to offer, I'll consolidate. In any case, Waka / Jawaka represents one of my favorite albums from Zappa. His first truly jazz rock album, 'Big Swifty' starts the opus off with a bang and never lets up. Though Zappa always had the chops of a jazz player, it's here that the music reflects this the most. It plays more like a Miles Davis album from the same era. My pick is the title track, as Zappa also had a knack for writing wonderful melodies. Of course, this being Zappa, he had to throw in a couple of goofball tracks to prove (endlessly it appears) that he was not a serious fellow all the time. Yea, we got that Frank. Would have been nice for him to show up like a professional jazz rock musician for 40 minutes just once. Oh well. I'll take the 29 and toss the 7. Strangely I have yet to find this on vinyl. When I do, I'll swap out this rather mundane CD reissue that I've owned for many years. (10/20)
*John Coltrane - A Love Supreme. 1996 Impulse (CD) (1965). About every ten years I pull this CD out of my collection for a revisit. I first picked it up at a used shop in Springfield, Illinois while there on business in early 2000. It was a transformational time for me from a career standpoint, and this album came at the perfect time in my life. From the opening notes you know it's a special album. The atmosphere is exhilarating. I'm not sure I'll be creating an artist page for Coltrane because I sense many of his works will be beyond my reach. And even this album goes beyond where I want to be, especially what would be side 2 on the LP. But A1 and A2 is just about perfect. Despite hours of digging, I have yet to luck out finding any Coltrane on LP beyond Ballads, which bizarrely I also found on reel to reel, and is the version I kept. Oh, and that collaboration with Don Cherry that I reported on a couple of years ago (and sold). If I do find A Love Supreme on vinyl, it will be my keeper forever copy, but this tri-fold digipak CD is lovely with a fine short history too. (10/6)
Lonnie Liston Smith - A Song for the Children. 1979 Columbia (LP). I know nothing about Lonnie Liston Smith's solo works, which appears to be my misfortune. Smith's background contains a brilliant resume of sitting in with many jazz A-listers throughout the 60s and early 70s before striking out on his own. And if RYM is accurate, this album seems to be the only one to avoid. Just my luck. But for 69 cents, I can't go wrong. After desecrating my stereo with TKO's Let It Roll, doesn't this sound sweet? I can guess why this album gets the cold shoulder. Disco. At least the first track (and last song as it turns out). Sounds fine to me. This is followed by a softer new age styled jazz. And then onto a jazz funk number. B3 features some beautiful electric guitar, almost Santana-ish. In reading about his more revered albums, A Song For the Children seems to be of a similar style throughout minus the opener and closer. Probably more ear friendly and less edgy. Great keys from Smith augmented by a fine cast. If this is his worst then I'm in for some good music going forward.) (9/4)
Mark Isham - Castalia. 1988 Virgin (LP). A former friend of mine was a huge fan of Mark Isham during this era, but I never derived much from his albums. Maybe now I'll have a different perspective. Nope. Isham exists in the slightly jazz, new age space. Very peaceful late night sounds, with Isham providing muted trumpet. The bass tones are warm and elongated, and the keyboards are plastic. David Torn is here on guitar but you would never know it. Fine album in the genre, but ultimately too sleepy for me. (6/20)
*Matrix - Harvest. 1981 Pablo (LP). As I stated on The 45 Revolution about their last recording from 1982, a very obscure SP: "From Appleton, Matrix had a relatively successful career, obtaining major label releases on both RCA and Warner Bros. I've heard a couple of them, but don't recall the contents and didn't keep either around." Harvest would prove to be their last LP, released under the radar on the jazz imprint Pablo. The music here is one that I've gravitated to of late, that of big band jazz rock. Similar to Buddy Rich and Maynard Ferguson. More towards the former as there aren't any one solo protagonist. The music displayed is complex yet easy on the ears. Anachronistic for 1981, though some of the tones were contemporary. Unique enough album to hold onto I think, and I'll put the 45 in there as well. (6/9)
Jan Garbarek Group - It's OK to Listen to the Gray Voice. 1985 ECM Germany (LP). A few seconds in and I instantly recognized the shimmering tones of David Torn's guitar. While that was a pleasant surprise the album remains in Music Noir mode for its entire length. More ECM Style Jazz targeted to the adults in the room. It's all well and good, but way too sleepy for me. I'd rather hear the legends from the 50s and 60s doing this kind of smoky jazz. (5/20)
Mark Colby - Serpentine Fire. 1978 Tappan Zee / Columbia (LP). Mark Colby's debut comes from a time when it seems every jazz musician, balding or not, got their 40 minutes of fame. This is the Bob James / Jay Chattaway show, bringing together all the same guys you'd here on a Maynard Ferguson album and many others. And the music is similar. To be clear, the music is very pleasant to the ear. In fact this troupe seems to be competing against the CTI guys for who can be the smoothest. Yet this isn't smooth jazz as we know the term via the Kenny G lens. With a name like Serpentine Fire, one might expect an intense fusion. But it's nothing of the sort. I think some more edge would have secured its place in the collection. (5/16)
*David Diggs - Elusion. 1978 Blue Jay (LP). Found this at a thrift shop recently and it looked intriguing. Once I saw it had value on Discogs, I added it to the stack. In hearing it for the first time, the appeal is immediate. Heavy instrumental jazz funk is the music with emphasis on biting electric guitar, electric piano, Moog synthesizer, and creative rhythms. Trumpet, sax, and flute round out the sound. Excellent production too. So who is this guy? He has a lot of solo albums and he's also part of a group called Good News. Contemporary Christian Music that would be. And some of his other works are described as Smooth Jazz. Christian Smooth Jazz is not a magnet for the buyer. But you would never know any of this after seeing and hearing Elusion. It's not message based, and the music is just as good as Donald Byrd in a similar phase. One to look for when you see a Heyseus Creesto drop at the thrift shop. (5/1)
Fuse One - Silk. 1981 CTI (LP). As soon as I saw this at a record store in their buck bin, I knew it was something I'm taking home to check out. It features an all-star cast of jazz fusion luminaries, and there are only four long tracks. Complete with an old fashioned bullet-proof gatefold cover, which had long gone the way of the dodo by 1981. The music didn't disappoint, that of a very smooth funky fusion. Silky as the title suggests. Like an updated mid 70s typical CTI release. Unfortunately it wasn't very distinctive either. This kind of music had been played out already, and this almost seems like a cash-in job for a bunch of jazzers needing some extra revenue. I admire the effort, but it's one too many for my collection at least. (4/21)
*-Keeping for the collection
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