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Thirsty Moon’s second album is definitely titled as risque, mostly due to its title and rather ugly semi-erotic cartoon artwork, but the music proves the title wrong. Lead by the Drogies brothers (I’m serious, check it out for yourself ;-) this psych-jazz-rock septet has a very Krautrock feeling and can be assimilated to Kraan crossing Release Music Orchestra to remain in their German homeland. Indeed, there is a definite spacey-psychey attitude in their music, fitting well the legendary Metronome section of the Brain label. The opening side is a killer with only two lengthy tracks allowing for tons of interplay, solos, plenty of tempo changes and embellishments of all sorts. The 14-min+ Trash Man is really enthralling and suffers no lengths or over-long soloing tirades. The opening I See You was in the same register as well.On the flipside, after the very fusionesque Tune In, we are clearly waiting for the monster 12-min+ title track, which starts out very slowly, almost cosmic, slowly moving across the galaxy, powered by a Fender Rhodes engine to the dissonant, almost free-jazz realm (avoiding its black hole, though ;-) then by activating the saxophone booster gliding and grooving to its great j-r destination. The closing Das Fest is just as beautiful, starting slowly, evolving to a quiet peaceful groove before exiting on a fade-out.One of the better Krautjazz-rock (if you’ll allow me ;-) album around, this easily beats most of Kraan’s works past their debut album and their double live album. I suggest the progheads to start with this album (most of their early ones have just received a remastering, some with bonus tracks) and their debut before eventually heading towards their next album Blitz, which is fairly different. Sean Trane (Hugues Chantraine) PROG REVIEWER

Featured Album

Raymond Gomez – Volume

When listening to Volume, it soon becomes evident that Ray Gomez gets more soul, more feel, and more tone, than any other guitar player on the planet. Add in impeccable placed notes with “Albert King-like” timing, the album represents guitar playing that is hard to beat. Something else that needs to be said, Ray “rocks”. He is very keen on the groove within a song. Besides blistering leads, Ray keeps funk and rock groove rhythm in his playing. One could listen to Blues for Mez or West Side Boogie and say, “Well, there’s killer blues being played, funk being played, and a steady rockin’ groove. In essence, Ray Gomez is nothing short of a powerhouse. He gets more out of a guitar than is almost humanly possible, yet he does not overplay. Ray has the uncanny ability to play exactly what is needed for a song, yet with innovation, feel, and soaring power. U.S.A. is actually my favorite song on the record. It also establishes another front — that Ray is a damn good song writer and composer. Volume is a hidden gem that needs to be rediscovered. It’s still relevant and fresh today as it was when first released. Charles Wilson
Recommended!

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