Ru-Ry

Ruan Folk (UK): Get It Together (Odyssey ODY 102, 1978?)

Folk
Joanna Coudrill (joint lead vocals, percussion)
This Cornish band’s privately pressed album offers pleasant traditional and contemporary folk and features a wide range of material (everything from ‘Early One Morning’ and ‘Portsmouth’ to ‘Sailing’). The performances vary too, with a couple of numbers not working particularly well, but overall it’s a pleasant set. GRADE: C+.

Rub (USA): Three Wishes (No label, CD, 2002)
Rock
Leslye Barrett (joint lead vocals)
The Rub’s style can pretty much be summed up in two words: Steely Dan. Admirers of that band will instantly recognise (and love) the jazzy chord changes, the rich harmony vocals, the spindly saxophone filigrees, the minor progressive diversions and the über-smooth mood. I am not an admirer of Steely Dan, but this is undeniably superbly done and perfectly enjoyable – and the lack of the Dan’s smug, knowing, postmodern edge is a huge bonus. GRADE: C+.

Rubber Riff (UK): Rubber Riff (Music De Wolfe DWS/LP 3331, 1976)
Progressive
Carol Barratt (keyboards)
This library music album was actually composed by Karl Jenkins and performed by a unique Soft Machine line-up featuring his wife Carol Barratt on keyboards. Unsurprisingly very different from the rest of Soft Machine’s oeuvre, it consists of fourteen short instrumentals ranging from uptempo funky rock to dreamy flute-led numbers with a jazzy edge. GRADE: C+.

Rubber Tea (Germany): Infusion (Sireena SIR 2216, CD, with digipak and booklet, 2020)
Progressive
Vanessa Gross (principal vocals, saxophone, flute)
With lots of seventies references (though, oddly, the whole thing feels typical of the German late seventies scene rather than the early seventies) and plenty of jazzy touches, this neoprogressive album is significantly above average. A pleasing mix of songs and instrumentals and some lovely symphonic arrangements nearly elevate it to a B–, but the lack of one or two truly killer tracks means the emphasis in that sentence remains on the ‘nearly’. GRADE: C+.
Rubber Tea (Germany): From A Fading World (Tonzonen TON156, CD, with digipak, 2023)
Progressive
Vanessa Gross (principal vocals, saxophone, flute)
This concept album is slightly more varied than their first, and as a consequence slightly more whimsical. Whilst it contains some fine passages, it's perhaps not quite as coherent, though the relative lack of energy is a bigger problem. This became obvious to me when I realised whom Vanessa Gross recalled as a singer: Jill Saward, and this is no Fusion Orchestra (though on the plus side it’s no Shakatak either). GRADE: C+.

Rubber Universe (USA): Parliament Of Fooles (No label, CD, 2008)
Progressive
Gina Ronat (joint lead vocals), Li’anne Drysdale (occasional vocals, keyboards, percussion, Vocoder), Sara Motley (flute)
With a dreamy mood, some folky edges and some contrasting passages of stately rock, this American band’s sole album offers some lovely instrumental textures. It’s not particularly groundbreaking, but then it’s never ostentatious and rarely borrows from neoprogressive tropes, creating a pleasant listening experience. GRADE: C+.

Ruby Dawn (UK): Beyond Tomorrow (Progressive Gears PGR-CD0037, CD, with digipak and booklet, 2023)
Progressive
Carola Baer (lead vocals, keyboards)
Ruby Dawn’s brand of symphonic rock is pleasing enough, with chunky arrangements featuring atmospheric keyboards and assertive lead guitar. They also manage some intermittently memorable hooks and have a decent grasp of dynamics. But ultimately this is like a lot of borderline-prog modern albums inasmuch as nothing much really happens. GRADE: C+.
Ruby Dawn (UK): Live At The Steam Museum (No label, download, 2023)
Progressive
Carola Baer
This live album is a significant step up from its studio counterpart – the settings are starker, the music is more dramatic, and Carola Baer’s superb singing is given more prominence. They still lack the material that would give them the momentum to make it all the way to B–, but when I’m in the mood for beautifully recorded mellow melodrama this will do nicely. GRADE: C+.
Ruby Dawn (UK): Beyond Tomorrow (No label, CD, with digipak and booklet, 2024)
Progressive
Carola Baer (lead vocals, keyboards)
Once again the level of drama is high and the recording is beautiful, adding distinction to what would otherwise be a merely solid symphonic rock album. Thus if you’re looking for adventurousness and experimentation, this probably isn’t the album for you, but if you value emotion and intensity you could certainly do a great deal worse. GRADE: C+.

Ruby Jones (USA): Ruby Jones (Curtom CRS 8011, 1971)
Rock
Ruby Starr
Tough and lively R&B, with the hard rock elements balanced by extensive use of horns. At various times it resembles Babe Ruth or latter-day Janis Joplin, with occasional welcome experimentation (the wild treated vocals on ‘Looking Out At Tomorrow’). Following the album’s release, singer Ruby Starr went solo and also worked with Black Oak Arkansas. GRADE: C+.
See also Grey-Star, Ruby Starr

Rue Nouveau (USA): Painting It Red (No label, with insert, 1986)
Rock
Leslie Ball (lead vocals, guitar)
This odd little guitar rock mini-album is essentially AOR, but draws on everything from new wave to dark psychedelic textures. Along the way, it even manages to take in funk bass (‘Empty Life’) and an acapella number (‘Acapella’, unsurprisingly enough) with everything topped off by Leslie Ball’s unusual, rather throaty vocal style (which would be much better suited to either country or heavy rock music). Finally, it appears to be some sort of concept piece, with the sometimes quite vitriolic lyrics concerning the break-up of a relationship. For all that, I don’t particularly like it and there’s nothing very impressive in the way of songwriting. GRADE: C.

Kari Rueslåtten (Norway): Demo Recordings (No label KR PR CD1, CD, 1995)
Singer/Songwriter/Folk/Rock
Kari Rueslåtten (lead vocals, keyboards)
Very different from her previous bands Storm and Third & The Mortal, this collection of home demos comprises folky singer/songwriter material. With rather thin backing, mainly from synthesisers and drum machines, the songs could at a push be compared to artists like Kate Bush or Enya, without really sounding like either of them. There are also some ethnic touches and a few progressive tinges, but like most demo albums it all sounds a bit unfinished. When the minuscule original pressing sold out, the disc was reissued two years later. GRADE: C+.
Kari Rueslåtten (Norway): Spindelsinn (Columbia COL 487304 2, CD, 1997)
Singer/Songwriter/Folk/Rock
Kari Rueslåtten (lead vocals, piano)
The orchestrated ballad ‘Agatha’ is nothing short of stunning, but mostly this is in a similar (decidedly folky, vaguely ethnic, somewhat poppy, partly electronic) vein to its predecessor. Another highpoint is the dark, atmospheric ‘Trollferd’, but this is a pleasant album throughout. GRADE: C+.
Kari Rueslåtten (Norway): Mesmerized (Columbia COL 492596 2, CD, 1998)
Singer/Songwriter/Folk/Rock
Kari Rueslåtten (lead vocals, guitar, keyboards, programming)
Rueslåtten’s third solo album ups the pop quotient considerably, adding strong trip-hop elements into the mix. Although unashamedly commercial, this contains some really outstanding songs with poignantly beautiful melodies. For some reason, this is a rare record and difficult to obtain, although all her other solo LPs turn up easily enough. GRADE: C+.
Kari Rueslåtten (Norway): Pilot (Peach Music PEACHCD001, CD, Sweden, 2002)
Singer/Songwriter/Ambient
Kari Rueslåtten (lead vocals, keyboards, programming)
Marking a partial change of direction, this is far more oriented towards trip-hop, electronic and ambient music. Much of it isn’t terribly exciting, although in fairness it’s quite atmospheric, but it does improve as it progresses, with ‘Smile In Your Sleep’ and the folky title track being especially good. GRADE: C+.
Kari Rueslåtten (Norway): Other People’s Stories (Peach Music PEACHCD006, CD, Sweden, 2004)
Singer/Songwriter/Ambient
Kari Rueslåtten (lead vocals)
Like its predecessor, this borrows heavily from trip-hop and electronica, although there are strong rock elements as well. With an atmospheric and catchy set of songs, it’s a definite step up and a consistently solid record. GRADE: C+.

Kari Rueslåtten (Norway): Time To Tell (Despota DZCD0040, CD, with gatefold minisleeve and booklet, Sweden, 2014)
Singer/Songwriter
Kari Rueslåtten (lead vocals, piano)
Rueslåtten’s first album in ten years is an enjoyable set of delicate songs, with ambient, folky and subtly jazzy edges. At times she resembles Kate Bush (though without any of the experimental elements), with some cuts featuring genuinely beautiful melody lines. A remake of Third & The Mortal’s ‘Why So Lonely?’ features Nightwish’s Tuomas Holopainen on keyboards. GRADE: C+.

Kari Rueslåtten (Norway): Silence Is The Only Sound (Øra Fonogram OF19, CD, 2017)
Singer/Songwriter
Kari Rueslåtten (lead vocals)
Like her earlier solo ventures, this is melodic, richly arranged, well recorded and beautifully crafted. But whilst it soars in all the right places and clearly demonstrates her high level of talent, it doesn’t really demonstrate any individual vision. GRADE: C+.

See also Storm, Third & The Mortal

Ruffwood Arts (UK): Knights And Villeins (Liverpool Sound LS 1529 LP, with insert, 1972)
Folk
Bessie Long (joint lead vocals), Sandy Balmer (joint lead vocals, autoharp), Dy Swindlehurst (occasional vocals), Sandra Pickersgill (occasional vocals)
This is basically Swindlefolk under another name, though musically it’s rather different from their earlier work. Offering delicate, haunting acoustic versions of material like Steeleye Span’s ‘A Calling-On Song’, Fairport Convention’s ‘Who Knows Where The Time Goes?’ and Pentangle’s ‘Let No Man Steal Your Thyme’, this often reminds me of an unplugged Beggars’ Hill, though it’s more consistent. Only a couple of copies have resurfaced thus far, only one of which has its original oversized sleeve (with a hand-pasted photograph on the front) and insert. GRADE: B–.
See also Swindlefolk

Rum Culls (Australia): Rum Culls (EMI Custom Records YPRX-2052, with insert, 1983)
Folk/Rock
Kathy Bluff (violin, backing vocals)
This rare private pressing offers superb electric folk with some progressive edges, influenced by Full House-era Fairport Convention. With barely any weak moments, this easily equals the best folk/rock produced anywhere in the world during the eighties. GRADE: B.

Inga Rumpf (West Germany): Second-Hand Mädchen (Philips 6305 279, 1975)
Blues/Rock
Inga Rumpf (lead vocals)
This is very similar to Frumpy’s Get On Board, released the same year, except that Rumpf writes all the songs, it has lots of horns (adding a bit of an Ike & Tina Turner R&B vibe) and, unusually for her, it’s all in German. The six-and-a-half minute ‘Mallorca’ is a bit different, having a dreamy, almost psychedelic feel and some electronically treated vocals. Whilst not brilliant, this is probably the best of her solo albums. GRADE: C+.

Peter Herbolzheimer Rhythm Combination & Brass & Inga Rumpf (West Germany): Hip Walk (Polydor 2371 704, 1976)
Jazz/Funk/Rock
Inga Rumpf (lead vocals)
The funky big band jazz here is unfailingly pleasant and relaxing, but for those (like me who prefer their jazz/rock experimental and challenging it functions mainly as high quality background music.Despite her star billing, Rumpf sings on only two of the nine tracks, with the remainder being instrumental. GRADE: C+.
Inga Rumpf (West Germany): My Life Is A Boogie (RCA PL 28321, 1977)
Blues/Rock
Inga Rumpf (lead vocals, guitar)
Rumpf’s second solo LP is a much more stripped-down, guitar-based affair, with the lady herself handling the arrangements and production as well as writing all the songs. There are hints of a new wave sound here, perhaps because it was recorded in London, but this is very much in the classic rock mould (‘Hideaway’ sounds uncannily similar to contemporaneous Eric Clapton). With music this unambitious, it would have taken truly great songs to lift the record above the ordinary, and Rumpf didn’t manage a single one – but at least the guitar work is first-rate. GRADE: C.
Inga Rumpf (West Germany): I Know Who I Am (RCA PL 28401, with insert, 1979)
Rock
Inga Rumpf (lead vocals, guitar)
Rumpf writes only half the songs here, but this is a solid mainstream rock album with some catchy hooklines and good musicianship and production. Even her cover of the Police’s ‘Roxanne’ (a frankly bizarre choice) works well. GRADE: C+.
Inga Rumpf (West Germany): Reality (RCA PL 28465, with inner, 1981)
Rock
Inga Rumpf (lead vocals, guitar)
Rumpf’s fourth solo album offered a mixture of hard rock and new wave influences, with stripped-down arrangements featuring dual electric guitars, bass and drums. This approach could have worked if she’d written some interesting songs, but the material here is resolutely pedestrian. However, Tina Turner clearly disagreed, as she covered ‘I Wrote A Letter’ as a B-side, which must have brought Rumpf a tidy sum of cash. GRADE: C.
Inga Rumpf & Der Bund (West Germany): Lieben. Leiden. Leben. (Pläne 88349, with inner, 1984)
Rock
Inga Rumpf (lead vocals)
Reflecting the era, this has a very dated eighties sound, with lots of synthesisers and prominent drumming. Despite some reasonable songs, it’s rather a waste of the talent involved, especially since Manfred Rürup of the excellent Tomorrow’s Gift co-produces and plays keyboards. This was Rumpf’s first album since Second Hand Mädchen to feature German lyrics. GRADE: C.
Inga Rumpf (West Germany): II=I (Pläne 88467, with inner, 1985)
Pop/Rock/Soul
Inga Rumpf (lead vocals)
As quintessentially eighties as its predecessor, this is exactly the kind of soulful pop that similar throaty-voiced artists (Tina Turner, Rod Stewart) were cutting at the time. Oddly, the funky ‘I Love You So’ bears more than a passing resemblance to contemporaneous Talking Heads. Rumpf has enough class as a songwriter that the album is far from unlistenable, but it’s also far from interesting or creative.

GRADE: C.
Joja Wendt Trio Featuring Inga Rumpf (West Germany): Cookin’ (Glamour 933, CD, Austria, 1992)
Jazz
Inga Rumpf (lead vocals)
Why Inga Rumpf gets star billing here is beyond me, as she sings only two of the twelve tracks (‘Fever’ and ‘Unchain My Heart’), with the rest being instrumental piano-led jazz. Mixing covers with a few originals by Joja Wendt, it’s a very pleasant and relaxing set. GRADE: C+.
Inga Rumpf & NDR Big Band (Germany): It’s A Man’s Man’s World (Extra 800 600, CD, 1993)
Rock
Inga Rumpf (lead vocals)
Recorded both live and in the studio in 1988 and 1993, this enjoyable set evenly mixes Rumpf originals and covers. Despite the presence of the NDR Big Band, it’s not really jazzy, offering Rumpf’s usual bluesy rock with lots more horns. This is easily her best solo album since her debut eighteen years previously. GRADE: C+.
Inga Rumpf & Joja Wendt (Germany): Fifty Fifty (Merkton MERKTONCD876 680, CD, 1994)
Jazz
Inga Rumpf (lead vocals)
An album of trad jazz and borderline rock and roll covers isn’t normally my kind of thing, but this is done amazingly well, with Rumpf in fantastic voice throughout. GRADE: C+.
NDR Bigband Featuring Inga Rumpf (Germany): The Spirit Of Jimi Hendrix (NDR 11542, CD, 1995)
Jazz/Rock
Inga Rumpf (lead vocals)
If you ever wanted to hear languid, big-band jazz versions of numerous Hendrix classics, here’s your chance. In fairness, it’s a mildly interesting venture, but Rumpf and her colleagues don’t really bring much to the material, and I can’t see anybody preferring their takes over the originals. GRADE: C+.
Inga Rumpf (Germany): In The 25th Hour (Nullviemull HH 9602-2, CD, with digipak, 1996)
Jazz/Blues
Inga Rumpf (lead vocals, guitar)
The opening cover of ‘Undercover Agent For The Blues’ is excellent blues/rock, but most of the rest is self-penned jazz with lots of horns. It’s all very tastefully done, with well-judged backing from the Joja Wendt Quartet, but despite the disc’s evident quality it’s pretty low on excitement. GRADE: C.

Inga Rumpf & Joja Wendt Quartet (Germany): At Lloyd’s (Lloyd CD 9706, CD, with digipak, 1997)
Jazz/Blues
Inga Rumpf (lead vocals, guitar, piano)
This live set of jazz and blues (mostly covers, but including a few Rumpf originals) finds her in excellent voice. There’s nothing to fault in the backing either, with excellent performances from every member of the quartet, but I’d still prefer to hear her singing rock, or better still prog. GRADE: C+.
Inga Rumpf & Lovetrain At Lloyds Germany): The Power Of Gospel (Lloyd CD 9807, CD, with digipak, 1998)
Soul/Gospel
Inga Rumpf (principal vocals), Konstanze Arens (occasional vocals), Cina Sustrate (occasional vocals), Petra Schlechter (occasional vocals)
The title says it all, really: this is Rumpf’s stab at gospel, following immediately from her unexpected venture into metal with Rockship. With just piano backing the vocal group, this has nothing whatsoever to do with rock of any kind, but it’s beautifully done and excellently showcases Rumpf’s soulful singing. GRADE: C+.
Inga Rumpf (Germany): Walking In The Light (BMG 74321 70044 2, CD, 1999)
Soul/Rock
Inga Rumpf (lead vocals)
The album opens with a dreadful remake of ‘How The Gipsy Was Born’, but everything else is new and pretty decent, as mainstream gospel rock goes. Unfortunately, the same can’t be said for the production, which draws from hip-hop and everything else that was trendy at the time, making the disc sound terribly dated today. GRADE: C–.
Inga Rumpf (Germany): Live Im Michel (25th Hour Music 012004TFH, CD, 2004)
Soul/Blues/Rock
Inga Rumpf (principal vocals), Nermin Gönenc (occasional vocals), Lisa Cash (occasional vocals), Linda Fields (occasional vocals)
This live set, which concentrates exclusively on soulful and gospel material, confirms my impression that Walking In The Light contained some fine songs. Here they’re executed with more traditional rock instrumentation to great effect, though the handful of songs by other writers (including some solo showcases for the backing singers, one of whom was the Rattles’ Linda Fields) aren’t quite as good. Nonetheless, this is a solid set, and for once doesn’t include yet another version of ‘How The Gipsy Was Born’. GRADE: C+.
Inga Rumpf (Germany): Easy In My Soul (25th Hour Music 012005TFH, CD, 2005)
Blues/Rock
Inga Rumpf (lead vocals, guitar)
Radically different from its high-tech studio predecessor, this is stripped-down bluesy and jazzy rock with an authentic, traditional feel. It’s nice stuff throughout, demonstrating Rumpf’s vocal and songwriting chops to good effect. GRADE: C+.
Inga Rumpf & Friends (Germany): Get Rolling Stoned (25th Hour Music 40058, CDR, 2007, recorded 2005)
Rock
Inga Rumpf (joint lead vocals, guitar)
As the title of this ‘official bootleg’ makes clear, it consists entirely of performances of Rolling Stones numbers. They’re a natural fit for Rumpf, and the result is a thoroughly enjoyable mainstream guitar rock LP. GRADE: C+.
Inga Rumpf & Friends (Germany): Worpswede Music Hall 24.03.2007 (25th Hour Music 40049, CDR, 2007)
Rock
Inga Rumpf (lead vocals, guitar)
Also from Rumpf’s ‘official bootleg’ series, this has excellent sound quality and a fine mix of Frumpy, Atlantis and solo numbers. In most cases, the performances don’t match the studio originals, with a lighter and more playful feel, but this is a solid set throughout. GRADE: C+.
Inga Rumpf (Germany): Theaterhaus, Stuttgart 13.04.2007 (25th Hour Music, double CDR, 2007)
Rock
Inga Rumpf (lead vocals, guitar)
Another ‘live bootleg’ instalment, this offers a good cross-section of material, with bluesier numbers during the first set and favourites from her back catalogue during the second. Enjoyable as it is, it does underline that her best songs were now at least thirty years in the past. GRADE: C+.
Inga Rumpf & Friends (Germany): At Rockpalast (Inakustik INAK 6304-1 DVD, DVD, with booklet, 2007)
Blues/Rock
Inga Rumpf (lead vocals, guitar, piano, tambourine)
Given Rumpf’s patchy solo career, it’s amazing how good this is: mixing Frumpy, Atlantis and solo numbers, Rumpf turns in a superb set of high-energy blues/rock. As usual, the highpoint is ‘How The Gipsy Was Born’, in this case with a virtuoso organ performance from her old Frumpy and Atlantis colleague Jean-Jacques Kravetz. Bonuses include a backstage interview (in German), a photo gallery and a few songs from a more intimate and jazzy show aboard a ship, completing a very accomplished package. GRADE: B–.
Inga Rumpf & Friends (Germany): At Rockpalast (Inakustik INAK 9078 CD, CD, 2007)
Blues/Rock
Inga Rumpf (lead vocals, guitar, piano, tambourine)
The CD version of the Rockpalast show captures nearly the entire set and preserves the magic as well as its DVD equivalent. With Rumpf delivering such a fine performance on stage, it’s a great pity that none of her studio work since the mid-seventies reached the same heights. GRADE: B–.
Inga Rumpf & Friends (Germany): Rohrmeisterei, Schwerte 15.11.2007 (25th Hour Music 40059-1/2, double CDR, 2007)
Blues/Rock
Inga Rumpf (lead vocals, guitar)
With an identical set list and running order to the Theaterhaus, Stuttgart show, this is another fine live retrospective, with excellent sound quality. GRADE: C+.
Inga Rumpf & NDR Big Band/NDR Radiophilharmonie (Germany): Radio Love (Edel 0208395CTT, triple CD, with gatefold minisleeve, 2012, recorded 1989-1995)
Jazz
Inga Rumpf (lead vocals)
Not a new album, this is a repackage of It’s A Man’s Man’s World and The Spirit Of Jimi Hendrix, along with Radio Love itself – a ten-track disc of orchestrated covers of standards recorded by Rumpf and the NDR Philharmonie in 1989 and 1990. I can’t say I particularly wanted to hear her cover material like ‘Body And Soul’, ‘The Man I Love’ and ‘Stormy Weather’, but she’s in great voice and does it beautifully. GRADE: C+.
Inga Rumpf (Germany): White Horses (Edel: Content 0208574CTT, double, 2013)
Jazz/Blues
Inga Rumpf (lead vocals, guitar)
Only released as an expensive audiophile double LP (with admittedly excellent sound quality), this intimate show sees Rumpf backed by a bassist and keyboardist. Concentrating on recent material and a few covers, it’s an enjoyable set that showcases her world-weary voice to the full. GRADE: C+.

Inga Rumpf Featuring KKNF (Germany): Fabrik, Hamburg 21.11.2014 (25th Hour Music 012015FTH, double CDR, 2015)
Rock
Inga Rumpf (principal vocals, guitar)
This live double album graphically illustrates the dichotomy behind Inga Rumpf. She’s in great voice, the band are on fine form, and you start thinking that you couldn’t wish for a better album of good-natured blues/rock. Then they play ‘How The Gipsy Was Born’, then you remember how wonderful Frumpy and early Atlantis were, and then you recognise how far she’s fallen. GRADE: C+.

Inga Rumpf (Germany): Universe Of Dreams (Ear Music 0216920EMU, double CD, with digipak and booklet, 2021)
Blues/Rock
Inga Rumpf (lead vocals, guitar, keyboards, tambourine, programming)
Universe Of Dreams is Rumpf’s best solo album – and probably the best thing she has done since the mid-seventies full stop – with a procession of wistful, tuneful songs that are beautifully arranged and steeped in atmosphere. The bonus disc Hidden Tracks appears to comprise re-recordings of old numbers and is also pretty good, if not quite the equal of the main event. GRADE: C+.
See also Atlantis, City Preachers, Frumpy, ID Company, Rockship, SOUL 50 Voices' Groove

Runaway Totem (Italy): Trimegisto (Black Widow BWR CD 004-2, CD, 1993)
Jazz/Rock/Progressive/Avant-Garde
Ana Tores Fraile (occasional vocals)
The most complimentary way to describe this zeuhl album – harder rocking, more electronic and less jazzy than the Magma template – would be to say that it delivers constant surprises. More cynically, one could describe it as a collection of weird vignettes that don’t add up to a cohesive LP. The truth is somewhere in the middle: there’s plenty of interesting music here, but it all adds up to slightly less than the sum of its parts. GRADE: C+.

Runaway Totem (Italy): Zed (Black Widow BWRCD 013-2, CD, 1996)
Progressive/Metal/Avant-Garde
Susanna Villanova (occasional vocals)
Following their interesting but inconsistent debut, Runaway Totem finally come roaring out of the traps with Zed, an ambitious set comprising just two pieces of 22½ and 26½ minutes. Emphasising the metal elements inherent in Magma’s stentorian sound, guitarist Roberto Gottardi delivers some aggressive power chords and wild fuzz soloing, especially on ‘Mnar’. If the album has a failing, it’s that their lack of budget means the sometimes thin sound doesn’t reflect the majesty of the music, but this becomes less of a problem as the album progresses – pun very definitely intended. GRADE: B–.
Runaway Totem (Italy): Manu Menes (Runaway Totem GMG 01002, CD, 2009)
Jazz/Rock/Progressive/Avant-Garde
Moira Dusatti (joint lead vocals)
After several albums with an all-male line-up, Runaway Totem return with this much more mature effort. The three long pieces, totalling more than 72 minutes, run the full gamut of zeuhl styles, from the darkness and minimalism of Shub-Niggurath to the full-on bombast of early Eskaton or Magma in live MDK mode. It’s impressive stuff, but it’s also a touch ponderous in parts and they’re still less than the sum of their influences – this is never as good as Shub-Niggurath or early Eskaton, let alone peak Magma. GRADE: B–.
Runaway Totem (Italy): Ai Cancell Dell’ Ombra (Runaway Totem GMG 01003, CD, 2010, recorded 1994)
Progressive/Metal/Avant-Garde
Ana Torres Fraile (principal vocals)
Although released in 2010, this was recorded in 1994, so it reflects Runaway Totem’s earlier metal-tinged style. On the one hand, the music here is relentlessly intense and powerful, driven by slashing fuzz guitar and Ana Torres Fraile’s operatic vocals. On the other, it’s just too relentless and eventually becomes wearing, not helped by the rather thin drum sound. GRADE: C+.
Runaway Totem (Italy): Le Roi Du Monde (Runaway Totem GMG 01004, CD, with poster booklet, 2011)
Jazz/Rock/Progressive/Avant-Garde
Moira Dusatti (principal vocals)
This is where Runaway Totem’s bombast met the Loudness Wars, but mastering choices notwithstanding, this is probably their best – epic, experimental, bold and varied. For sure, it’s a bit ponderous in parts and some of the diversions – everything from Ligeti-style vocals to jazz-fusion vibraphone – work better than others, but I’ll always take an album with too many ideas in preference to one with too few.

GRADE: B–.
Runaway Totem (Italy): Viaggio Magico (Runaway Totem GMG 01006, double CD, 2014)
Jazz/Rock/Progressive/Avant-Garde
Antonella Bertini (joint lead vocals)
Whilst earlier Runaway Totem releases ranged from not bad to very good, they frequently suggested that the band had a truly great album in them. This live double is that album. Largely leaving zeuhl band, its lengthy songs and improvisations straddle jazz-fusion and pure avant-gardism to superb effect, and the results are constantly surprising and often inspiring. GRADE: B.

See also Universal Totem Orchestra

Ruphus (Norway): New Born Day (Polydor 2381 037, with poster, 1973)
Progressive
Gudny Aspaas (joint lead vocals)
This classic riff-driven heavy progressive album takes most of its influences from British bands like Uriah Heep or Deep Purple. Ruphus prove themselves to be both great songwriters and musicians, with the brilliant opener ‘Coloured Dreams’ particularly standing out. Some versions of the CD include their absolutely superb debut single ‘Flying Dutchman Fantasy’ (which sounds like Abba gone progressive) and its instrumental B-side ‘Opening Theme’. GRADE: B.
Ruphus (Norway): Let Your Light Shine (Brain 60.031, West Germany, 1976)
Jazz/Rock/Progressive
Gudny Aspaas (lead vocals)
Album number three (their second Ranshart featured all-male vocals whilst Gudny Aspaas took a break) is completely unrecognisable compared to New Born Day. Surprisingly, this is slick jazz-fusion with wordless vocals and a rather cheesy seventies feel. Despite high calibre musicianship, this is a very generic-sounding record and a huge disappointment after their powerful debut. GRADE: C+.
Ruphus (Norway): Inner Voice (Brain 60.060, West Germany, 1977)
Jazz/Rock/Progressive
Sylvi Lillegaard (lead vocals)
They may have changed vocalist, but the style remains the same: slick, rather sterile jazz-fusion with good riffs and playing but not much in the way of substance. GRADE: C+.
Ruphus (Norway): Flying Colours (Brain 0060.108, West Germany, 1978)
Jazz/Rock/Progressive
Sylvi Lillegaard (lead vocals, percussion)
I like this better than their last couple of albums, as it’s a bit livelier and more rocking. There’s still nothing outstanding on offer, but ‘The Rivulet’ has some excellent violin work, whilst ‘Moody Moments’ is a nice mellow suite. Cuts from the two Sylvi Lillegaard albums were compiled as Hot Rhythms And High Notes. GRADE: C+.
Ruphus (Norway): Manmade (Brain 0060.175, West Germany, 1979)
Progressive
Gudny Aspaas (lead vocals)
Their final album tones down the jazz-fusion elements, offering dreamy sympho-prog and light funky rock of a reasonable standard. In another odd line-up change, Gudny Aspaas returned for a second time; presumably this was a last-minute substitution, since all the lyrics were written by Sylvi Lillegaard. Following the band’s break-up, Aspaas released an obscure solo album Snapshots; she also represented Norway in the Eurovision Song Contest on four separate occasions. GRADE: C+.
Ruphus (Norway): Coloured Dreams And Hidden Schemes (Polydor 529 743-2, double CD, 1996, recorded 1973-1980)
Jazz/Rock/Progressive
Gudny Aspaas (joint lead vocals), Sylvia Lillegaard (joint lead vocals)
This retrospetive double set features previously released material on the first disc (from the band’s six albums plus the ‘Flying Dutchman Fantasy’ single) and nine unreleased recordings on the second. Sadly, none date from the band’s fantastic early period, starting from 1975 (three demos for Let Your Light Shine) and ending with one post-Manmade instrumental from 1980. The compilation itself (Coloured Dreams) is solid, even if the abrupt change of style (and radical drop in quality) after Ranshart is jarring; the unreleased material (Hidden Schemes) is as good as any of their later official product. GRADE: C+.
See also Gudny Aspaas

Larry Russell Family (USA): Heaven’s Reservation (Beatty 8106, 1975?)
Country/MOR/‘Incredibly Strange Music’
Betty Russell, Leri Lee Russell, Evangeline Russell, Hopsti Russell
Jim Reeves-style MOR country from a Asian-American family working as missionaries to Native Americans, including one member who looks borderline retarded on the cover. Musically this is too safe and proficient to be very exciting, but given the monstrous kiddie vocals on some cuts, backstory and sleeve it could certainly be of interest to ‘real people’ collectors. GRADE: D.

Ruth’s Refrigerator (UK): Suddenly A Disfigured Head Parachuted (Madagascar MADA 012, with insert, Belgium, 1990)
Pop/Garage/Psychedelic
Ruth Miller (joint lead vocals, guitar), Blodwyn P Teabag (keyboards)
This particular incarnation of the Deep Freeze Mice/Chrysanthemums/Creams is at the straighter and poppier end of the collective’s range, though there’s a nice acid-rock freakout on side two. It’s all enjoyable stuff – sunny, naïve and playful, with a beautiful sleeve – but I definitely prefer them at their more experimental. GRADE: C+.
Ruth’s Refrigerator (UK): A Lizard Is A Submarine On Grass (Madagascar MADA 020, Belgium, 1991)
Pop/Garage/Psychedelic
Ruth Miller (joint lead vocals, guitar, vibraphone), Blodwyn P Teabag (keyboards, sampler, stylophone, backing vocals)
Like their first, the second and final Ruth’s Refrigerator album has a strong pop/rock bias, so it was never going to figure among my favourite albums from the Alan Jenkins stable. Nonetheless, it’s pleasant enough, and quite diverse too – they even throw in a drum solo. Oddly, the CD version contains entirely different recordings and is very much longer, and is perhaps marginally more satisfying, though there isn’t really much in it. GRADE: C+.

See also Creams, Alan Jenkins & The Thurston Lava Tube

Collie Ryan (USA): The Giving Tree (Colorado River Gold Mining Company CRGMC-1, 1973)
Singer/Songwriter
Collie Ryan (lead vocals, guitar)
The back cover describes this as ‘new age sounds’ but it’s straightforward folky singer/songwriter fare with simple acoustic guitar backing. Her vocal and songwriting style falls somewhere between Joan Baez and early Joni Mitchell, so this isn’t exactly groundbreaking stuff, but it has a charming naïveté and she has a beautiful voice and considerable composing talent. GRADE: C+.
Collie Ryan (USA): Indian Harvest (Colorado River Gold Mining Company CRGMC-2, 1973)
Singer/Songwriter
Collie Ryan (lead vocals, guitar)
Since Ryan’s three albums were issued (and almost certainly recorded) simultaneously, it’s hardly surprising that there’s no difference between them. Like her debut, this offers lovely acoustic folk with some charmingly melodic material, and once again showcases her beautiful voice to great effect. GRADE: C+.
Collie Ryan (USA): Takin’ Your Turn ’Round The Corner Of Day (Colorado River Gold Mining Company CRGMC-3, 1973)
Singer/Songwriter
Collie Ryan (lead vocals, guitar)
Instalment three features the same strengths and weaknesses as its predecessors: beautiful singing, lovely melodies, unchanging simple instrumentation and a rather serious atmosphere that some may find too precious. Nonetheless I really enjoy her albums, which are far superior to those of many singer/songwriters who hit the big time. The three discs were reissued as a beautiful packaged triple CD set (with minisleeves, inserts, a booklet, a slipcase and an obi) called The Rainbow Records on the South Korean Bella Terra label (BTR0042, 2009).

GRADE: C+.

Pete Ryder & Sian Harry (UK): On Our Way Home (Profile GMOR 166, with booklet, 1978)
Folk
Sian Harry (joint lead vocals, guitar, piano)
Pete Ryder and Sian Harry had previously been members of Cair Paravel, and before that Ryder was the prime mover behind Paradise Square. Like those two bands’ albums, this is pretty inconsistent, with some excellent tracks and a fair amount of filler. However, although this is equally rare, it does not sell for many hundreds of pounds like their earlier works. GRADE: C.

Ryesingers (UK): Ryesingers (Midland Sound Recordings MSRS 1411, 1973?)
Classical/Folk
This is a marginal case for review, essentially consisting of classical music performed by a folk choir. However, it’s often quite similar to the Farnham Singers album, which has found some favour with collectors, and in fact duplicates one song (‘Summer Is Icumen In’). For those who like the kind of thing, this is a charming LP,, with some fine singing and accompaniment. GRADE: C+.
See also Cair Paravel