Michel Moulinie, France

Chrysalide. 1978 Crypto

One man show Michel Moulinie crafted his sole work for the Crypto label in 1978. Perfect for the time and place, Moulinie's work is similar to other like minded French underground artists such as Phillippe Besombes and Richard Pinhas. The use of acoustic guitar gives the recording a warm touch, that can be missing from the more clinical works of the era. I would guess that Moulinie was quite familiar with some of Mike Oldfield's classic works at this stage. The violin (or as it is credited "guitare violin") has a haunting, almost mellotron-like sound. On 'L'Echo de L'Acier' and 'Lente Course', Moulinie experiments with sound on sound techniques, that recall Manuel Gottsching on Inventions For Electric Guitar. A very beautiful album, and one that has no peer in terms of sound and execution.

Priority: 1

***Reissued on LP by WRWTFWW Jul 2024

7/10/10

Might of Coincidence, Switzerland

The Birth of Might of Coincidence. 1971 Entropia

Might of Coincidence play a typical acid folk prog in the trippy German tradition similar to Emtidi’s Saat or especially Amon Duul’s Paradieswarts Duul. Tranced female / male vocals over tablas, wood flute, and electric / acoustic guitar. Most of the tracks sound similar, except the last one which is considerably more cosmic and experimental. A whole album of that I think would’ve resulted in a better experience. 

Priority: 3

9/12/10

Subversion, France

Subversion. 1976 Pole

Certainly the most obscure album on the experimental Pole label. Featuring a crude black and white cover, it's exactly the sort of album you would expect to find on the FLVM label a few years later. This pre-Falstaff outfit mixed complex progressive rock in the Memoriance / Pulsar vein, along with jazz rock sections and some introspective folky moments. Not much cohesion, but they did well with each style they attempted. Very different from anything else on the label, except maybe Emergency Exit. And like that band, Subversion was also not repressed by Tapioca later in the decade, adding to its obscurity.

Priority: 3

***Reissued on LP by Replica (2021)

9/11/10

Sixty Nine, Germany

Circle of the Crayfish. 1973 Philips
Live! 1974 Philips

Sixty Nine were a rock based instrumental organ & drums duo following in the footsteps of Hansson and Karlsson. This was something of a popular idea back in Germany during those days, and other such duos like Magma, Minus Two, and Twogether had a similar lineup / idea. Given the limitations of the small setup, it takes quite a bit of imagination and sound variation to keep things interesting. On Circle of the Crayfish, they do manage to get some outlandish sounds out of that organ, and combined with the rip-roaring tempos, the group do keep things hopping for the most part. There's even an introspective electronic piece. Even with all of the innovations applied, the album still sounds too monolithic overall for its own good. Sixty Nine are to be commended for their mighty effort here, but it's for a niche within a niche audience.

Priority: 3

***Both albums reissued on LP by Long Hair (2018)

9/10/10

Mars Everywhere, USA-D.C.

Industrial Sabotage. 1980 Random Radar

Live & Unrehearsed. 1988 Galactus (MC)

Visitor Parking. 1989 Audiofile (MC)

Random Radar was the ancestor to the popular Cuneiform Records label. They had some interesting acts, but none were more intriguing than Mars Everywhere's Industrial Sabotage. The music here is a cross between, Canterbury (due to The Muffins influence), space rock, avant prog, and free rock. Gets a little loose and annoying in places, but when they catch a groove, the fireworks are undeniable. Some brilliant guitar work, and it's just this space rock element that becomes the album's ace in the hole. 

I have not heard the cassettes to date.

Priority: 3

9/9/10

Booth Davis and Lowe, USA-Arizona

Prototype. 1978 Titicaca

Booth, Davis and Lowe are from Arizona, but sound like they're from the great Midwest (Albatross, Ethos, Surprise, etc...). Classic Yes is the obvious starting point, but like many bands of their era, BD&L made a concentrated effort for radio airplay, mixing in some tame but charming AOR songs. A mixed bag, but very much a product of the American underground.

Priority: 3

9/8/10

Alpha Omega, Australia

Alpha Omega. 1976 Clear Light of Jupiter

Steven Maxwell, most known for his group Cybotron, also plays synthesizers for this most interesting fusion group. Perhaps Cybotron's Colossus is a good reference, mixing in saxophone lead rock with electronic sequences. Alpha Omega is more rooted in jazz, however, which includes some free blow sax and shredding guitar solos. It's an odd combination. Passport's Infiniti Machine is also similar to this, though for certain more tame. 

Priority: 3

9/7/10

Arc, France

Maquette. 1980 Le Kiosque d'Orphee / Game

Maquette is an earnest attempt to recreate the Ange / Mona Lisa style of dramatic French language progressive rock. Similar to other such efforts like Elohim's Le Mana Perdu (1983), Trefle (1979), or Elixir's Sabbat (1987). It's a distinctly French form of rock, and for what it is, it's pretty good. Don't expect Ange though.

Priority: 3

9/6/10

ES, Germany

Wham Bang. 1979 Fran

Now here's a strange bird. ES is made up of former members of Krautrock veterans Tomorrow's Gift and the Release Music Orchestra. On the surface, Wham Bang is a straight ahead pop rock / disco album. And after each track's cringe worthy vocal section finishes, one might expect a short instrumental followed by some more tawdry vocals. Except the instrumentals don't always stop and ES begins to introduce a more common jazz fusion sound, as one might find on an earlier RMO release. Every time I was about to write Wham Bang off as a cheap European knockoff, then wham! bang! I'd hear an impressive instrumental bit. Yes, I think the album may have been a conscious satire on the current music trends of the day. Not among the greatest albums of all time, but a fun one to own for the collection. Keep expectations reasonable, and you may enjoy it too.

Priority: 3

9/5/10

Miklagard, Sweden

Miklagard. 1979 Edge

Miklagard's sole album is bread and butter keyboard trio prog rock, with nice leads (some fat analog, some thin cheesy), and the always pleasant sound of Swedish vocals. 

Priority: 3

9/4/10

Sunday, England

Sunday. 1972 Bellaphon

Sunday's sole album is a mix of organ rock, hard rock, and progressive. Another UK band whose only release was in Germany (like Diabolus, Odin). Good record and an even better album cover.

Priority: 3

9/3/10

Sicher, Switzerland

Sicher. 1981 private

There was a major boom in private progressive albums from Switzerland in the late 70s and early 80s. Not sure why that's the case, but here's another one worth your consideration. Featuring two flute players, and possessing a strong affinity for classical music, Sicher put out a better than average progressive album when compared to many of their peers. Some semblance to Eloiteron. 

Priority: 3

9/2/10

Puzzle, France

Puzzle. 1983 private

A well executed psychedelic guitar driven album, released at a time when very little of this style was available on the market. Perhaps only Cincinnati's Ra Can Row could be called out during this era. There are some really sizzling guitar freakouts here. And actually a few well-thought out melodies, which is not something inherent within the genre. But Puzzle has one fatal flaw. And it's the only thing keeping me raving about it: The dreaded drum machine. Had they employed a real drummer, I would enthuse more about it. Naturally enough, the keyboards are all 1980's era synthesizers too, though the guitar fortunately remains the focus. A fine album overall.

Priority: 3

9/1/10

Plamp, Switzerland

...Und Uberhaupt... 1978 private

Like many albums from Switzerland, Plamp's sole album is a private press that time forgot. The CD Reissue Wish List is full of such albums (Nautilus, Agamemnon, Schakta, Eloiteron, etc...). From the northeastern town of Chur, Plamp went boldly forward with their native German language. As for the music, it's a hodge podge of late 70s rock with jazz and classical accents highlighted by flute, violin, and sax. A bit too diverse for its own good, but plenty of nice fuzz leads and organ outbursts. Reference groups: Rumpel Stilz, Flaming Bess, Novalis, Sicher, Novaks Kapelle, and El Shalom.

Priority: 3

8/31/10

Marakesh, Netherlands

Marakesh. 1976 Mirasound

Marakesh were a mid 1970s Dutch band that came and went without much notice. Band leader Dick de Jong had played in the final incarnation of Supersister and with that experience created his own collective. Marakesh is typical of many bands from the Netherlands, where the focus is on the melody more than chops, or complex composition. At times I'm reminded of the same-era German bands such as Indigo and Fly. Especially the latter, considering the saxophone presence. Keyboards are made up of the trusty Hammond organ and an ARP String Synthesizer. What gives Marakesh a slight edge over other albums of its ilk is the inspired and overly amplified electric guitar work. This is especially apparent on two of the longer (and better) tracks 'Autumn / DY 49' and 'Hounted Man', the latter named for guitarist Evert Houtman. 'I Will Stay' is another highlight and the album closes in funky fashion with the overly sexualized 'Will You Do It'. One can see the transition from the early 70s Netherlands bands like Pantheon, Cargo, and Earth & Fire to Marakesh - and then onto the proto neo-progressive groups like Saga, a style that seemed to be an enormous influence on all modern era Dutch groups. The duo of Mirror and Lethe are also guideposts, though Marakesh weren't quite the masters of melody as those groups could be. Overall Marakesh proves to be an excellent album, one that requires a few listens to penetrate due to its diversity of sound.

Priority: 2

8/30/10

Herrgottsax, Germany

Siebold Seiergesichts Sündige Saxofone. 1981 Eigelstein.

Judging by the cover, the title name, and some of the cartoonish voices, one gets the impression this album was made for children. Maybe John Coltrane's kids, I dunno? Other than the aforementioned voices, this is mainly a superbly crafted Kraut fusion album in the Missus Beastly, Munju, and Mosaik style. Large ensemble featuring multiple saxophones, flutes, horns, guitar, bass, and drums. The compositions and playing are very tight, and some of the sections will have you raising your head repeatedly in amazement. There's some standard jazz noodling as well - but overall a very pleasant surprise and well worth seeking out. 

Priority: 3

8/29/10

Ginbae, Japan

Ginbae. 1976 Seaside

A very heavy album given the 1976 date. Basically a proto metal album with guitar riffs that wouldn't be out of place on a 70's era Judas Priest album. Five tracks with long amplified/phased guitar solos. Some typical Japanese balladry can be found in the vocal sections. Songs are perfunctory, and are merely excuses to launch the next jam session. 

Priority: 3

8/28/10

Epizootic, Sweden

Daybreak. 1976 Feji

Epizootic's sole album is a highly ambitious, but amateurish kind of progressive hard rock. There are many nice touches that are unusual for such an aggressive album, including electric piano and flute. It definitely features a high level of complexity, not always found on harder edged albums like this. Really great guitar throughout. The vocals are a bit strained, which recalls many an early 70s German album - so it just takes a bit of time for the ears to adjust. 

***Reissued on LP by Long Hair (2020)

After careful evaluation it appears the CD reissue out there is similar to the first Elonkorjuu CD - same catalog number system (FID), from Germany, etc... Fairly certain it's a pirate. They also didn't mention it in the liner notes for the Long Hair LP reissue.

Priority: 2

8/26/10

Eric Delaunay, France

Antagonisme! 1980 Vogue

Not much is known about drummer Eric Delaunay's past. We learn from the liner notes of Musea's reissue of the second Asia Minor album that Delaunay had been an early member, but left prior to any recording. Then time passes, and he finds himself with a group under his own name on major label Vogue! How he was able to achieve this remains something of an unknown. Especially when one considers how noncommercial Antagonisme! really is. 

The album itself is all instrumental, built upon complex structures and themes. There's some fantastic guitar and keyboards here, along with Eric Delaunay's driving rhythms. Special kudos go to bassist Paul Amar who plays a major role throughout. Other than a couple of short keyboard atmospheric pieces, Antagonisme! is an energetic, well produced, instrumental progressive rock album. Well worth pursuing.

After this album, none of the other members resurfaced again, beyond Delaunay himself. He later formed Tiemko and one can easily hear his songwriting and approach being applied. Especially on their debut Espace Fini, but with more modern equipment (for better or worse).

Sadly Eric Delaunay passed away in a deadly car crash in 1996.

Priority: 2

Coma, Denmark

Financial Tycoon. 1977 Genlyd
Amoc. 1980 Genlyd

Love and Madness - It's All the Same. 1986 Generation

Financial Tycoon is like a direct cross between two of Denmark's finest bands: Dr. Dopo Jam and Secret Oyster. From Dr. Dopo Jam they inherit the obvious Zappa influence, including humorous bits and complex composition style. From Secret Oyster they get the fusion tendencies and instrumental dexterity. Some splendid sax and ripping guitar solos really add spice to the album. I've heard some folks say Financial Tycoon is Canterbury influenced, but I can't say I do.

Not surprisingly, Amoc, released three years later is much more in the fuzak area, with plenty of soft sax and early digital synthesizer action. All is not a total loss, as there's still plenty of rough edged guitar moments and a couple of moodier electric piano driven pieces, with the highlight being the final title track. 

I have not heard the 3rd album to date.

Priority: 2

8/24/10

Alice, France

Alice - Arrêtez le Monde. 1972 Polydor

Alice were a French pop band experimenting with orchestrations and other trendy progressive ideas. In that way, they remind me of the Italian groups doing similar like Delirium's Dolce Acqua or The New Trolls Concerto Grosso No. 1. When Alice are strictly instrumental, they can be highly fascinating, and utilize a multitude of instruments (including mellotron). But they are pop singer-songwriters at heart, and those moments are pretty hard to stomach, unless you're a fan of said style.

Their debut album was reissued as far back as 1996.

Priority: none

8/22/10

Arakontis, Germany

Live at the Quasimodo. 1981 Blackbird

This live album is a fine Latin fusion with some nice guitar driven melody lines, and a fair amount of electric piano. Not atypical for the time and place, and another good example of the style. Not as fusion oriented as Rozz and less Latin influenced than To Be, but both albums provide guideposts of what you can expect from Arakontis. Arakontis also appear on a 4 group compilation album called Berlin Fusion that also features Chameleon, Changes, and Margo.

Priority: none

8/210/10

Bridges, Norway

Fakkeltog. 1980 Våkenatt

It was about 15 years ago or so, while leafing through an LP rarities catalog, that I first came across this Bridges title. The description basically stated that it was pre A-Ha, but you would never know it by the contents of the music. I didn't believe the catalog. I figured it was hype to get top dollar for an obvious rarity. Probably just another pop rock album that didn't sell well. Well the catalog writer was right and I was wrong. This really is something to pay attention to! And it's also filled with irony. A-ha, to many Americans at least, represents the epitome of mid 80s MTV video driven synth pop (I understand that their albums are deeper than that, but the perception remains). So how can it be that the very embodiment of 1980s slick pop, could put out an album in 1980 that sounds like it was from 1968? See, this Bridges album is heavily influenced by the classic Doors sound, right down to the Morrison baritone vocals. As well, most of the instrumentation is vintage including the Hammond organ. Talk about a change in direction! To me, the Doors are a quintessential American band, where the culture is a big part of the sound. So I do think it's hard to appreciate a band from Norway copying the style, even though it's extremely well done. I suppose it's similar to a band from Los Angeles singing in Italian and trying to replicate classic PFM. 

Priority: 3

8/20/10

Combo 8, Sweden

Vibrationer. 1976 Levande Improviserad Musik

Inventive mix of fusion and horn rock. 1976 was a little late in the game for horns to be used in this context, which may explain the typical fusion moves that drag this down a bit. 

Priority: 3

8/19/10

Flight, USA-Florida

Flight. 1975 Capitol

Excursion Beyond. 1980 Motown

***Incredible Journey reissued by Eastworld Apr 2013

Flight were a Florida based progressive rock/fusion band with mellotron, Moog, guitar, trumpet, and quite a bit of kinetic energy. This is one of the most confused releases from a most confused time in American history (think Gerald Ford and hyper inflation - kind of like now lol). The album opens up as if Starcastle had decided to sound like Yezda Urfa instead of you-know-who. But then there's trumpet. Trumpet? OK, then. This leads to 'Make a Miracle' which is more like Earth, Wind, and Fire. "Baa-bay, I need you...baa-bay" It's actually quite accomplished for the style. Then how about some fusion runs similar to Mingo Lewis' Flight Never Ending? And so it goes, yo-yo-ing back and forth from insane prog to complicated fusion to radio soul hits. What a cool and dopey album, really. Too sophisticated for chart topping; too mainstream to be an underground cult classic. Can't imagine what the hell Capitol were thinking here. The more I review albums on the Capitol label, the more I wonder just how drugged up were those guys in the 70s? Flight were to get even more bizarrely contrasting on their follow up album. Awesome.

Incredible Journey moved to UMR

I haven't heard their 3rd album to date.

Priority: 2

8/18/10 (new entry); 4/16/13

Supply Demand and Curve, Ireland

Supply Demand & Curve. 1976 Mulligan

Supply Demand and Curve provide a vast array of sounds, like a sampler through contemporary Ireland. The primary progressive rock influence is Gentle Giant, especially their more jazzy moments. Even a few traditional instruments are employed. A good album, second to only Fruupp when talking 1970s Irish progressive rock.

Priority: 2

8/15/10

Pirana, Australia

Pirana. 1971 Harvest

Pirana were a band from Australia who released two fine albums, that are now rare collectors items, especially given the lack of a legal reissue (not even the great and now-defunct Aztec label showed any interest here).

Essentially Pirana are Australia's answer to 1969-71 era Santana. It's especially obvious from keyboard member Stan White, who plays the organ and sings quite similarly to a one Gregg Rolie. Tony Hamilton's guitar resembles Carlos Santana in style, but the tone is decidedly different, much rawer and more in line with a typical 1971 hard rock sound. There's quite a bit of tribal percussion here - perhaps too much honestly - but it does cement the relationship with Santana.

The songwriting is a mix of heavy Latin rock with pop sensibilities (sound familiar?). 'Elation' is a get-up-on-your-seat opener only to deflate a few minutes in to allow for a lengthy drum/percussion solo, and can only be considered a slight disappointment given the premise. Probably best to "program" most of it out. 'Sermonette' is great, and more representative of the album at large, with its strong songwriting and excellent guitar/organ combo. 'The Time is Now' actually predicts Malo, and is quite a revelation from an historical perspective. 'Find Yourself a New Girl' is the most commercially oriented track here, but features fine flute and a nice melody line. The album's only true misstep (not counting the overabundance of drums on track 1) is 'The River', a sort of country/rural rocker that is out of place, and not particularly well done. Both 'Easy Ride' and 'Stand Back' reminds us of the organ/guitar heavy sounds of 'Sermonette', and the latter track features some fine extended soloing. Overall a very good to excellent album. Giving a bump to the rating as music like this tends to grow positively with age.

Pirana II. 1972 Harvest

I have the original LP and need to jot down some fresh notes.

Priority: 1

8/13/10

Clicker, USA-Wisconsin

Clicker. 1973 Hemisphere

Private press prog album from Madison, Wisconsin. First couple of tracks are straight forward early 70's rock all the way, though they feature mellotron on the 2nd track. One of the rare places where I really think they used the instrument as a strings sampler rather than as moody accompaniment. This is followed by an atmospheric acoustic guitar driven instrumental. Then a Yes-like proggy piece, having that uniquely Midwestern approach (e.g. Starcastle or Albatross). Another rocker and a short quirky instrumental close out Side 1. Side 2 starts with an amalgamation of their prog and rock tendencies. This leads to the 16 minute closer. After a silly 2 minute introductory narrative, we are treated to a surprisingly great jazz rock instrumental, though there's an overlong and somewhat uninteresting guitar noodle solo section (with no other accompanying instruments). A nice album that grows on you. The good parts are really good.

They have a second album called Harde Har Har Har which I understand to be of much lesser interest (and which would seem obvious, I suppose, given the title of the album)

Priority: 3

8/10/10

Baracca e Burattini, Italy

Hinterland. 1981 Mama Barley

One of many Italian fusion albums from this period, influenced by the Cramps label groups such as Bella Band and late era Canzoniere Del Lazio. Also Perigeo should get a nod here. I also detect a slight Zeuhl underpinning, as noted by the chanted, wordless vocals. On the soft side of said genre, but definitely distinguishes this album from the pack. Band is named after a 1954 Italian film. Worth a few spins.

Priority: 3

8/9/10

Air, Germany

Teilweise Kacke... ...aber Stereo. 1973 Eigenbau

My review for Gnosis from 2006: "One of the most obscure albums from the vast Krautrock scene, Air’s sole album from 1973 has just recently surfaced to the collector’s market. It’s easy to see why. Translating more or less to “Partially Sh*t… …but in Stereo”, and featuring a plain white cover with “Air” in gothic lettering, one gets the impression this was made for fun and distributed to friends and club patrons. Musically it could be categorized as instrumental rock, not that distant from what one would find on a sound library album. That is, generic incidental music used for television and films. Maybe not 100% accurate, as these cuts do seem to be self-contained composed pieces, but similarities do exist, especially considering how simple the songs are. Organ is the featured instrument, and the tones are ancient, more akin to 1965 than 1973. It’s even older sounding than the organ used by Erlkoenig, if that’s possible. The organist doubles on flute, but the playing is more 18th century classical than Osanna. The electric guitar is primarily used only for rhythm and is lacking any kind of rock tone effects. And, of course, there is a drum solo to suffer through. The easy comparison would be the Roland Kovac New Set (another German sound library group), but misses their strong jazz background and creativity, and thus is far less interesting. In conclusion, Air is not a bad album at all, and does make for a nice curiosity."

Priority: none

8/8/10

Arpaderba, Italy

L'Aleph. 1981 Incontro

I first got a chance to hear this rarity while visiting a friend in Rome in 1994, and I noted it as one of the more interesting albums that I heard on the visit. It would be years later before I could even find reference to it, and I began to question the accuracy of my notes. Was this the right band name? Album? Finally, within the last few years, the album has resurfaced, and I've had a chance to hear it again.

Arpaderba are an instrumental medieval folk rock group lead by the former guitarist from Raccomandata Ricevuta Ritorno and Samadhi. Reminds me of somewhat of the bands coming out of Brittany during this time like Avel Nevez or an instrumental Malicorne. Very nicely played (especially the violin), with just a bit too much gloss in the production to have any major impact on the scene. Minimum Vital would later take a similar approach (though with Baroque as a blueprint) and apply much more firepower. Still a very worthy piece and a surprisingly different sound to come out of Italy.

Priority: 3

8/7/10

Tommy Broman, Sweden

Efter Midnatt. 1976 YTF

What we have here is nine strong instrumental compositions with Broman providing electric guitar leads (wonderfully affected with wah, fuzz, phasing, etc..), Bjorn J:Son Lindh on flute, and others on electric piano, congas, and whatever else was gathering dust at the studio. The 70s Swedish ensemble Lotus also comes to mind here. A very good album that few still seem to know about.

Priority: 3

8/6/10

La Confrerie des Fous, France

La Confrerie des Fous. 1978 Ballon Noir

La Confrerie des Fous' sole album is a fine example of the kind of electric progressive folk typically found on the high quality Ballon Noir label (especially Ripaille, Emmanuelle Parrenin (who is also a member here)). A very interesting album that really gains steam on Side 2. It can be still a bit too much silly fous/fou here, but when they get down to the music, it's quite good.

Priority: none

Fondation, France

Sans Etiquette. 1980 Eurock (MC)
Metamorphoses. 1980 private (MC)
La Vaisseau Blanc. 1983 Tago Mago (MC)

***Compilation issued by Bureau B Jan 2018. Since none of the albums have been reissued in full, the entry stays.

Fondation were a duo made up of Ivan Coaquette (Spacecraft, Musica Elettronica Viva) on guitar and electronics and Annanka Raghel on organ and voices. For Sans Etiquette the first side contains one long, dark electronic soundscape (primarily droning organ), with haunting female voice. The other side is more rhythmic with some fine guitar. Metamorphoses is the best of the three featuring a more varied palette, and tracks closest to the Heldon / Spacecraft model (though more dynamic and interesting than Spacecraft). No less worthy, the final album features female French narration from Annanka (she has a beautiful speaking voice), with plenty of excellent guitar and electronics floating on top.

Priority: 2

***La Vaisseau Blanc reissued on LP by Tunnel Vision (2017)

8/4/10; 1/12/18

Morning Sky, USA-New Hampshire

Sea of Dreams. 1976 private

On the surface, New Hampshire based Morning Sky are a typical mid 70s jazz flute ensemble. Then the sweet airy female vocals add some life, and the peppy rhythms recall the Lloyd McNeill Quartet. Then, out of nowhere, arrive these loud fuzz guitar solos that are truly exciting in this context. Fascinating album and very much worth seeking out! 

---

On last night's +2 listen it's apparent I way undersold this one. Heck, I almost went +3 into Self-Actualization territory. A2 and B1 do reach those heights. Perhaps only B2 is a bit wandering and experimental for an album such as this. Both the female and male vocals are soothing and well done. Flute plays a major role as does the electric guitar. The music is ensemble driven, not solo focused, and depending on one's definition could be considered progressive rock. There's more than a nod to Canterbury here, though I think it's coincidental verse a concentrated effort. A brilliant album overall.

Priority: 1

8/3/10

UHF, USA-Florida

Timeless Voyager. 1981 Rofer

There's an obscure Chicago band called The Seiche (that recently has been reissued). When listening to UHF, I was reminded of The Seiche. At its core, both bands are heavily influenced by late 70s Rush, minus the epic aspirations. More of a streamlined approach, similar to how Rush would emerge themselves, but with a rawer edge that is to be expected on a private production. But Miami, Florida based UHF take it one step further by adding a bit of a metal component. There's a certain riffing style that identifies it as such, though it doesn't fit comfortably into what is generally known as heavy metal - even for the early date. In fact, it wouldn't be a reach to compare UHF to Manilla Road at this 1981 stage (again, minus the more grandiose compositions and themes). And it's not just hard rock and metal, but a very strong progressive component can be found, with unusual meter breaks, and well placed keyboards. 

Priority: 1

7/29/10

Schwarzarbeit, Germany

Schwarzarbeit. 1979 private
Traum oder Wirklichkeit. 1982 private

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

I once owned Traum oder Wirklichkeit on LP back in the 90s. I need to revisit that title before jotting down some notes.

Priority: 3

7/28/10

Ken Ramm, Canada

Dragon. 1981 private

A very fine, and professionally produced, early 80s instrumental fusion album. And, lo and behold, the entire FM team is playing on this, which should give this an instant built-in audience. Ramm apparently had the right connections, or a lot of money, as this sounds more like a major label release, than an obscure private.

---

The artist has resurfaced in recent years speaking of reissues, but nothing as of yet. Originals remain very affordable.

Priority: 3

7/27/10

Perfume Azul Do Sol, Brazil

Nascimento. 1974 Chantecler

Perfume Azul do Sol were a band from Brazil who released this one incredibly obscure - and now expensive - album back in 1974. The music is primarily short form tunes, based in regional traditions, but of a contemporary nature (50's/60's). The instrumentation however is definitely informed by psychedelia, giving it a freak/hippie vibe in the Tropicalia tradition of Os Mutantes. The female vocals recall Rita Lee, and cement the comparison. Perfume Azul do Sol are not afraid to throw in more musically challenging sequences, along with some amped up fuzz guitar. I think if the band had stretched a few of these tunes out, it would have fell into the great column. Otherwise it feels more like sketches and leaves the listener wanting more.

Priority: none

***Reissued on LP by Pedra Templo Animal (2017)

7/26/10

Foehn, France

Faeria. 1985 private

Many years ago I used a description to sell this album that compared Foehn to a mix of Zeuhl and late era new wave pop bands like Swing Out Sister. The customer who bought it, wrote back to tell me that he agreed completely with that comparison and it's why he bought it. That observation has held. Difference is that concept is far more appealing to me than it was in the middle 90s. There's also some fine guitar  here, an instrument that can sometimes be underutilized in the Zeuhl world. A very good album, that I appreciate more now that ever.

Priority: 2

7/25/10

Ocean, Germany

Melody. 1981 Tonstudio Bieber

Double Vision. 1984 TSB

This came as a big surprise, as most of these small German presses from the early 80s are best left alone. And with a moniker like Ocean, a band name that must have been used 269 times by then, the word "generic" couldn't slip my mind. Until I put the disc on that is. If you're looking for references, Symphonic Pictures era SFF isn't a bad place to start. It's not quite in that league, but it's not like the world is filled with similar albums to SFF's debut. Plenty of mellotron (including the much loved choir). Maybe Odyssee's White Swan is another good check point. On the same label as Nanu Urwerk. 

I have not heard Double Vision to date.

Priority: 2

7/24/10

Momentum, USA-Florida

Introducing Brad Carlton.1980 J.B.C. Records

(5/29/14 update): We now have a copy of Momentum's debut. And it becomes clearer why these albums have such a strong guitar presence. Brad Carlton is indeed that player, and he is also a guitar teacher (in fact he has a nice set of instructional videos on YouTube that budding guitarists can learn from). I personally really appreciate Carlton's tones, giving both of Momentum's albums a strong mid 70s feel. Once again, there is some dated early 80s styled funk jazz to sit through, but one is never too far away from another cool biting fuzz guitar solo. There's some nice piano work too. Both come highly recommended for fusion fans.

Scintillation. 1983 J.B.C. Records

Scintillation is the second instrumental album from Sarasota, Florida based Momentum, and is, in my estimation, a pleasant surprise given the late date. On first blush, the keyboards have that early 80s New Wave sound, and sounds somewhat typical of the era. But then suddenly out of nowhere thrusts this excellent guitar fronted jazz rock. A type of fusion with loud, almost psychedelic guitar leads - very much at odds with most recordings from 1983. The title track could almost be considered hard rock given its intensity. There's also one beautiful flute driven piece ('Breakfast in the Afternoon'). Synthesizers go wild on 'The Spirited Lady', a track that sounds like it had been lifted off Al Di Meola's Elegant Gypsy. Sure, there's a couple of funky sax laden tracks to sit through ('Add it Up', 'Goosby Strut'), but both contain fine melodies and blazin' guitar midsections to offset the trendiness (well no guitar madness on 'Goosby Strut' actually, and it does sound like a bar crowd pleaser). 1983 is not typically a year one seeks out fiery fusion, but Momentum provides the counter argument.

Priority: 2

7/23/10; 5/29/14

MacArthur, USA-Michigan

MacArthur (The Black Forest) 1979 private
MacArthur II. 1982 private

***Debut album reissued by Out-Sider in Apr 2016

Debut moved to UMR

Recorded between 1977 and 1982, the music on MacArthur II is remarkably similar to the debut, and not a surprise given the time frame. Except II is even better, thought out, and more mature. By 1982, this kind of music here in America was extinct, so it's always fun to see an album like MacArthur II appear on the landscape. Primo-era late 70s Rush remains the primary influence, though there's a distinct space rock jam element this time, which is even more unusual for the time.

Priority: 1

7/22/10