Jean-Louis Bucchi ~ France

Sunflower (1978)

Former Speed Limit member Jean-Louis Bucchi released this diverse, electronically-tinged, instrumental album. One which was typical of the time and place. Reminds me quite a bit of Roland Bocquet's (Catharsis) Paradia album from the year before. Not as engaging as former Speed Limit mate George Jinda's Wheel of Love, but somewhat in the same ballpark. For those who prefer sketches of music rather than fully composed works.

Not reissued as of 3/25/25.

2/11/10 (review); 1/30/20 (update / new entry)

Serene ~ Germany

Serene (1981)

Serene's sole album is a type of straightforward rock with light prog embellishments. Typical of the time and place, Serene's album is littered with heavily accented English vocals, when German would have probably suited better. There's some nice Hammond organ work here that contains a wide open and spacious sound. I hear late 70s Novalis as an obvious influence with some nods to Eloy's lesser progressive efforts. A harmless 40 minutes, but not disturbing.

Not reissued as of 3/25/25. 

1/30/20 (review / new entry)

Solar Plexus ~ Sweden

Det Är Inte Båten Som Gungar - Det Är Havet Som Rör Sig (1974)

Solar Plexus' third studio album Det Är Inte Båten Som Gungar - Det Är Havet Som Rör Sig* sees the group back on track, though still not near at the high level of the debut. But most of the overt commercial moves of the disappointing second album have been traded in for a more jazzy approach, which helps. The first 3 tracks are unconvincing, but 'Fåglarna i Nam Dinh' and 'This is the Place' are not to be missed. Final 17 minute tracks sums up perfectly the inconsistency the album represents.

*Google Translate tells us: It's Not The Boat That Swings - It's The Sea That Moves. I wonder if it's an idiom like our own college (crass) saying "It's not the size of the ship, but the motion of the ocean"?

Not reissued as of 3/25/25.

7/31/09 (review); 1/30/20 (update / new entry)

Cosmic Eye ~ England

Dream Sequence (1972)

Cosmic Eye's sole album is a fascinating hybrid of Indo-jazz and instrumental rock. Plenty to go 'round of sitar, flute, hand percussion, electric guitar, etc... That probably reads like an exploitation album, or even a film library soundtrack, and it can fit comfortably into either of those sub-genres. However, the album works surprisingly well as a continuous whole. Good one here.

There does exist a legitimate LP reissue, but still no CD as I update this post (3/25/25).

12/29/10 (review); 1/30/20 (update / new entry)

Lubat / Louiss / Engel Group ~ France

Live at Montreux (1972)

Jazz and rock veterans join up for an underground freak session at Montreux, just the kind of happening that was all the rage in 1972. Shame that the jazz purists put this type of radical invention into an early grave, but from about 1969-1974 or so, Pandora's Box was opened for all to see, warts and all. LLE can be classified along with similarly minded collectives such as Association P.C., Wolfgang Dauner's Et Cetera, Fourth Way, and Exmagma. This is highly inventive fusion, but not flashy or chops heavy. Not all of it works, but they're going for broke, and sometimes it's fun to hear creativeness being made up as they go along. And who knew that Pierre Cardin was so hip? Sure beats his line of lime green raincoats...

No reissues as of 3/25/25

11/5/09 (review); 1/30/20 (update / new entry)

Machine ~ Netherlands

Machine (1970)

Machine were a Dutch group who played a mix of what was popular at the time: Psych, progressive, hard rock, and horn rock. Nederbeat was one of the more healthy psych / garage scenes coming out of continental Europe and Machine were like the latter stages of those groups such as Q65 and Cosmic Dealer. The strong Hammond organ presence adds a proto-prog sound similar to Deep Purple and Mainhorse. Horns were frequently inserted in those days to increase the odds of a chart appearance, given the wild success of Chicago and Blood Sweat and Tears. And, as expected, there’s also a strong blues influence throughout. The album has a strong start but slows to the finish, as predictable 3-chord blues rock takes over the final moments. Recommended to fans for bands as diverse as Affinity, Ahora Mazda, Warhorse, and Irish Coffee.

No reissues as of 3/25/25

10/10/09 (review); 1/30/20 (update / new entr)

Kozmic Muffin - Space Between Grief and Comfort. 1997 Spain

Kozmic Muffin are one of those hidden gems that I have buried deep in my collection. In addition to that, it's been so long since I heard either of their albums, that I had totally forgotten what they sounded like. I had it in my mind they were a modern space rock band. Wrong!

Kozmic Muffin are from Galicia, in the far northwest of Spain. Like their location, their sound is miles from anything one would normally associate with the country. But the group took this even further - and went backwards in time by about 25 years. What we have here is the sound of England circa 1971. The familiar labels such as Vertigo, Transatlantic, Neon and Dawn - and the progressive rock bands that were on those labels. Heavy organ, acid guitar, dense compositions, and wild vocals is what you get. Concerning the latter, one will hear Peter Hammill, Peter Gabriel, or Jose Carlos Molina (Ñu) when ranting in Spanish (though mostly the album is in English naturally enough). This is total retro prog. But released long before Areknames, Diagonal, Astra, and many others. And just as great too! I cannot imagine why Kozmic Muffin did not hit me hard at the time, but finally some 23 years later, I realize how great this album really is. And it was released a few years ahead of its time, ironic given their disposition as a retro band. But that craze came about more in the next decade, not the 90s. I'm excited to hear again their debut Nautilus, also sitting quietly in the collection gathering dust. That day will be coming soon enough though.

Ownership: CD: 1997 Man. Purchased new upon release.

1/23/20 (new entry)

The Mandrake Memorial - Puzzle. 1969 USA-Pennsylvania

Side 2 of the previous album Medium was a harbinger of things to come for The Mandrake Memorial. Gone is the trademark electric harpsichord and its place is the guitar trio - with a fully staffed choir and orchestra in tow. The conventional psychedelic songs are undoubtedly The Mandrake Memorial of the first two albums, but the other tracks show the band pushing the boundaries of rock into exciting new directions, oddly reminding me some of Pink Floyd's 'Atom Heart Mother' suite that had yet to appear. Guitarist Craig Anderton's growing interest in electronics is given a test drive on 'Bucket of Air' - a splendid display of proto Kosmiche Krautrock if there ever was one. Overall, it's definitely an experimental record, and one that did not result in commercial success for the band. The subsequent 45 single sees The Mandrake Memorial heading back towards the middle - not sure where else they could have gone honestly - and then decided to hang it up, having accomplished a great deal in only 2 short years.

Ownership: LP: 1969 Poppy; CD: 1996 Collectables. The original gatefold features a fetching Escher cover (House of Stairs from 1951), and comes with a cool circular insert, which is often missing (fortunately I have it). On the CD, Puzzle adds in the original LP liner notes which are in Dutch and likely come from Escher himself. In addition, the CD has both sides of their final 45 single as a bonus. They also inexplicably "colored in" the Escher sketch - who knows why?

7/5/14

The Mandrake Memorial - Medium. 1968 USA-Pennsylvania

Side 1 of Medium sees The Mandrake Memorial taking a step back as they try to define their sound to a finer point. There's more of a downer folk blues sound going on, though its still psych based. There's still plenty of phasing and fuzz guitar here, along with the prevailing electric harpsichord. Side 2 definitely takes the straight jacket off, and the band spreads their wings further into longer compositions and creative instrumentals - peaking on the 6 minute instrumental 'Barnaby Plum'. A mixed album, with a much greater discrepancy - both at the top and from the bottom.

Ownership: CD: 1996 Collectables. Full biography, but the same as on the other 2 album reissues.

7/4/14

The Mandrake Memorial. 1968 USA-Pennsylvania

Philadelphia based The Mandrake Memorial began their career as a psychedelic pop group, with the distinction that all the songs here feature distant "lost" vocals and electric harpsichord. There's a certain sameness to their sound throughout. The music is every bit of its era, practically defining 1968 for us. The best tracks, naturally enough for a group existing in the psych world, are those that feature biting fuzz guitar licks such as heard on 'Here I Am', 'Dark Lady', and 'Strange'. Closer 'Sunday Noon' sounds like The Mandrake Memorial covering The Doors. And it's just as great as that might sound.

Ownership: CD: 1996 Collectables. I first bought the debut LP back in 1990, appropriately enough, while in Philadelphia (with collector Jeff Baker, who I understand is no longer with us). I replaced that as soon as the CD hit the market. The debut sold well (over 100,000 copies according to the CD liner notes), especially within the local Northeast Philly/NYC/Boston market, and thus finding an original isn't too hard. If I see it again, I'll keep it this time.

7/3/14

Nicholas Greenwood - Cold Cuts. 1972 England

Nicholas Greenwood's only solo album is a type of heavy organ rock with flute, guitar, strings, and orchestra. Somewhere between the complexity of his former band Khan, the heaviness of Deep Purple, the artiness of Second Hand, and the proto prog of Locomotive. Excellent album throughout, though nothing bedazzles quite like the 3 part opener 'A Sea of Holy Pleasures', which is brilliant.

Ownership: CD: 2004 Akarma (Italy). This is one of the label's better efforts. The CD is housed in a hardbound cover and features unique liner notes.

Abstract Truth - Silver Trees & Totum. 1970 South Africa

Abstract Truth were an underground band from South Africa during the heady days when Johannesburg looked to rival London and New York for global rock supremacy. Their debut Totum is named after a club the group labored in to eek out a living. The folk pieces here are a bit ordinary and the abundance of cover tunes doesn't help convince. All the same, there are some extended cosmic journeys and other odd compositions that go a long way to making this a desirable listen, especially considering the sitar drenched closer.

Silver Trees sees Abstract Truth improving the composition and inventiveness quotient. Here you'll find a mixture of song based folk rock and lengthy instrumental journeys. The album contains some real gems including the title track, and in particular, 'In a Space'.

Ownership: CD: 2005 Fresh Music. Purchased new online upon release. In order to fit both albums on one CD, Fresh left off 'Jersey Thursday' and 'Ain't Necessarily So / Take Five'. At 52 minutes, the Totum original was quite lengthy for its time. Years ago I heard these tracks via a bootleg CD, but forget what they sound like now. Otherwise the CD is great with extensive liner notes.

Mosaic - Ultimatum. 1978 France

Mosaic's sole album Ultimatum has some really great moments of underground / experimental instrumental rock. Especially the brilliant opener 'Un Trop'. But honestly there are a lot of wasted notes on here - with plenty of bits that sound more like a rehearsal/tune up. And the punkish closer 'Mercenaire' is wildly out of place. The more overtly fusion Zeuhlish 1977 material that serve as bonus tracks are much better (and there's more bonus than the actual LP!), but alas it's not very well recorded. Pity that they weren't able to record properly during this period of the band. This album will have its fans, especially among those who enjoy the quirky French avant prog strain. For me it's a bit too much unfocused and hard to enjoy for the duration.

Ownership: none. The 2003 Mio (Israel) CD is a great reissue with liner notes and lots of bonus tracks as noted below. All the same, the music didn't hold enough interest for me, and I sold it.

Lethe ~ Netherlands

Lethe (1981)

Lethe is the second incarnation of the band Mirror, and just as obscure unfortunately. Their sole album starts off rather inconspicuously with a classically oriented oboe, acoustic guitar and piano piece. Then, just like the Mirror album, the band launches into a sophisticated and highly melodic progressive rock form. And while Side 1 is good, side 2 is an absolute clinic on how to combine complexity and yet still maintain a strong melodic backbone, that recalls Finch on occasion. This is the album that Camel never made after Moonmadness. Astounding album really.

Ownership: 1981 M.M.P. (LP) 

Not reissued as of 3/25/25.

1997 (first listen); 8/21/09 (review); 1/18/20 (update / new entry)

Ungava ~ Canada ~ Quebec

Ungava (1977)

On the surface it would appear Ungava would be yet another power trio, given their guitar-bass-drums lineup. But the two guest musicians, one on keys and the other on sax/flute appear to have far more than cameo appearances as seemingly they are part of the band, perhaps leaving just prior to release and being relegated to "guest". This is one of Quebec's finest, recalling Opus 5 or Maneige in places, but with the added strong guitar work. Maybe not Frank Marino or Walter Rossi strong, but still some high quality six stringing going on among the complex progressive rock compositions. An exceptionally great album.

Ownership: 1977 36 Records (LP). 

Not reissued on CD as of 3/25/25.

1997 (first listen); 10/20/10 (review); 1/17/20 (update / new entry)

Yves et Alain Lorentz ~ France

Espaces 2 (1980)

Yves and Alain Lorentz are two names that appeared on this one album and haven't been heard from since. Typical of a French band, Espaces 2 has that signature compressed and phased out electric guitar sound, mixed with String Ensemble synthesizers (or a facsimile thereof). Somewhat like Sensations' Fix Portable Madness minus the rhythm section. Ah, you say, wouldn't that be Falsini's Cold Nose then? Perhaps a bit more dynamic than that may imply, but yes it's a fair comparison. Other French artists such as Ose, Renaud, Archaia, and Flamen Dialis provide more guideposts for what you can expect here. An excellent aural experience, the music belongs more to electronic than progressive rock, but the lines can often be blurred. Even though this LP may have been scored for the film and TV market, it works well as a cohesive album.

Ownership: 1980 Arc en Ciel (LP). Embossed gold cover. 

No reissues as of 3/25/25.

3/5/11 (review); 1/18/20 (update / new entry)

Ablution ~ Sweden

Ablution (1974)

Jazz rock/fusion was all the rage in Sweden in the early 1970s. In addition to the indigenous groups, there was quite a bit of "supergroup" activity, with Sweden operating as a host / safe harbor country, including those from behind the Iron Curtain. Pop Workshop may be the most known of the names, but Ablution may have been the most successful and fiery of the bunch.

Ablution features no less than seven members playing organ, electric guitar, multiple percussion, Rhodes, Clavinet, trumpet, piano, bass, and drums. Highlights include Janne Schaffer laying down some of the hottest licks of his career while Bjorn J:Son Lindh's flute soars over the thunderous percussion below. Reference points include early 70s "electric" Miles (without trumpet as the lead), Herbie Hancock (especially the funk bits), as well as Santana near the time of Lotus (guitar/percussion overload).

Ownership: 1974 CBS (LP)

No reissues exist as of 3/25/25.

9/25/09; 1/13/20 (new entry)

Cry Freedom ~ Germany

Volcano (1976)

Cry Freedom's debut is one of the earlier entries within Germany's huge fascination of everything jazz fusion. By the 1980s it seems there were hundreds of such releases. Primarily instrumental sax / guitar / organ / synthesizer driven numbers, with a stronger than usual emphasis on melody. Not quite at the level of a Embryo or Missus Beastly, but more thought out than most fusion groups of the era.

Ownership: 1976 private (LP)

No reissues exist for all three of their albums as of 3/24/25.

4/28/10 (review); 1/11/20 (update / new entry)

Bambibanda e Melodie. 1974 Italy

Garybaldi was the second incarnation of a band called Gleemen. And Bambibanda e Melodie is the 3rd version of same. The various groups never had a particular identity, so each album is unique on its own terms, similar to The New Trolls in that way. Gleemen's sole album was a straight-up psych rock work. Garybaldi's debut Nuda extends the Jimi Hendrix Experience motif into prog rock realms, and is arguably the collective's best album. Astrolabio followed and was more geared towards improvisational space rock. Which leads us to Bambibanda e Melodie. By 1974 many bands were following the fusion path, and guitarist Bambi Fossati was no different. Here the blueprint seems to be Santana's Caravanserai, though Fossati's approach is more psychedelic than the more soulful Carlos. 'Pian della Tortilla', 'Calabuig!', 'Mara delle Terre Medie', and the outro 'Canto del Sole' all represent this newer style, and total over 30 minutes of great, mostly instrumental, progressive jazz rock.  The other two songs are more pop influenced and can be skipped over.

Bambibanda e Melodie are one of the more obscure bands of the original early 70s Italian prog scene. It's understandable as it sits a bit outside the norm of the genre - though not that much more than Garybaldi themselves.

Ownership: CD: 1991 Fonit Cetra. This CD offers nothing more than a single tray card with front and back covers. Was part of a large collection buy in the late 90s.

Maajun - Vivre la Mort du Vieux Monde. 1971 France

Vivre la Mort du Vieux Monde is the debut album from Maajun, better known as Mahjun. And with this debut one quickly realizes that two words that go so very well together are wacky and French. Mix in the year 1971 and the idea of underground rock and you have the perfect champagne cocktail. There's the expected juxtapositions that match the anguished French tantrums with the delicate flute; the heavy electric guitar with the spacey voice; the menacing violin with the soft acoustic guitar; the screeching sax with the chanting monks. Well, we could go all day here. It's what you would expect from an album that translates more or less to "Long Live the Death of the Old World". This unabashed creativeness defines the time and place. Makes you want to riot at La Sorbonne, just as a raison d'etre.  While side 1 offers hors d'oeuvres, it's side 2 that we enjoy our super repas. Bon appetit!

Ownership: LP: 1971 Pop Music / Vogue. Recent online acquisition from France. Originals come with the flapback cover that was still common back then. 

6/6/09 (CDRWL); 1/20/20 (new entry)