Anyone’s Daughter – Adonis. 1979. Sigh. Time to admit albums like this don’t move me anymore. The post Genesis movement had gained some traction in Germany and Anyone’s Daughter was one of the more known groups to climb out of the scene. Their music was one that had the good sense to watch the charts while infusing a little complication as to maintain some musician integrity. These bands anticipated the neo prog movement by about 3 years, and did benefit from it, though they came at it from a right angle. Early 80s progressive catalogs would always include Anyone’s Daughter – they were easily Germany’s number #1 export in this category. “Adonis” is a good album, but there are plenty of ordinary rock moves here that went down better in its day. If you like the more melodic side of progressive rock, then Anyone’s Daughter still must be considered for the collection. My CD (I even once had the original Brain LP) is on WMMS, one of the original reissue labels (and they also had a large stable of new groups). Label is kaput. Unfortunately it was in the era of barebones reissues, with no bonus tracks or history. Not much to hold on too here then. Sell bin.

Epidermis – Genius of Original Force. 1978. And speaking of WMMS, here’s one I was certain would find a parking space in the sell lot. A bunch of English speaking Germans doing Gentle Giant style choruses is an invitation for disaster. Maybe they found the only 5 Krauts who could sing. Who knows, but the production of this oddity is one to behold. It’s counterpoint by the numbers, in a slick tile restroom, but it works. This album doesn’t make any sense, so I’m bound to dig it.

Sahara – For All the Clowns. 1975. WMMS pal Ohrwaschl was another early reissue label, in an era where a simple repro of the album cover is all it took. Miss the histories and photos, but this minor leaguer probably doesn’t need an upgrade. First bought this album in the 80s via the Peters International print. Strangely American sounding, with some interesting long track progressive numbers. Flute, acoustic guitar and some meter gymnastics save the more pedestrian tracks from overtaking the pole position. File next to Hoelderlin’s “Clowns and Clouds”, that one first.