Bronin Hogman Band ~ USA ~ New Hampshire

Bronin Hogman Band (1975)

Bronin Hogman Band were a group from Manchester, New Hampshire, who released this one album - with promise of another - and then drifted away into the history books. There is no one named Bronin or Hogman, but the group features an impressive eight members to carry forth their vision.

Bronin Hogman are yet another American band who mixes AOR FM radio styled music with complex progressive rock interjections. The guitar and organ / Moog work is particularly well done. I also detect a slight southern rock influence which belies the group's origins. With the right breaks, Bronin Hogman should've been a household name, as they had the perfect mix for 1975 - perhaps predicting the future of radio by one to two years. File alongside other similarly minded bands such as Hot Flash and Fairchild.

There aren't too many albums with an American football helmet on the cover. However it ties to one of the songs, where the main protagonist seems to be whining about his old man pushing him into the macho game of football (verse presumably being a musician? A low point of the album for sure... Man Up!).

No reissues as of 3/28/25.

Ownership: 1975 Gamut (LP)

7/13/10 (review); 2/23/20 (update / new entry)

Mazeville Crossing ~ USA ~ Colorado Springs, Colorado

Mazeville Crossing (1975)

I was bound to run into this 1975 album sooner or later. Not that I was looking for it, mind you. Shoot, I'd never even heard of it before. But once I saw it at a local garage sale for $1, I knew it was something worth picking up. It had the right "look". And how about that - they're from Englewood, Colorado, which is just up the road in Denver. But as RYM's Streetmouse reports, they were actually from Colorado Springs. And, well, guess where we currently reside? Given its rarity, I hope I find more of them!

Admittedly I did buy it with resell in mind, but didn't know if it was actually expensive (not all private presses are...). But yep, this one is. And as I started listening to it, I said to myself there was no way I was selling it anyway. This is good! But you have to hear the whole thing. That's the problem.

Honestly the first 12 minutes are great. Sure 'All Along the Watchtower' had been done numerous times before, but Mazeville Crossing's version is worth hearing. They're basically a guitar duo, and on this track, one on acoustic and one electric (a very nice psychedelic tone too). And these two definitely enjoy their studio effects and they used them wisely here. This is followed by the longest cut 'They Call the Wind Maria'. It is mostly acoustic guitars and serious vocals, but very trippy and at times I was reminded of British Columbia's Ptarmigan, a long time favorite for me.

Then it breaks down. The last two tracks are from a live show. One of those banter-with-the-drunken-crowd bits that only work when you're actually there. In the cold sober light of day it's... painful.

I had high hopes for side 2, where the duo perform original songs. However, most of these are fairly straightforward folk songs, with light rock touches. The exception is 'Morning Song' that brings forth more effects, but it's no mindblower either. Just more interesting.

So there you have it. I did enjoy some of this and pondered keeping it for the "local flavor". But nah. I have plenty of other rarities I need for the collection. I'll take the cash and run...

No reissues as of 3/28/25. And I haven't found another copy since either....

Source: 1975 Strawberry (LP)

2/16/20 (review / new entry)

Nova ~ USA ~ California

In the Clouds (1976)

Nova's sole album is a private press instrumental fusion affair from Stockton, California. Sure, it's quite typical of the era, and there's little here to distinguish it from countless others. However the album does feature some excellent guitar and synthesizer work, along with some well written compositions. In a nutshell, it's the usual sunny and tropical fusion, but with plenty of technical prowess. This one's a grower - worth pursuing for sure.

Not reissued as of 3/28/25.

2/16/20 (review / new entry)

Heta Linjen ~ Sweden

Won't You Step Inside? (1971)

Won't You Step Inside? is truly a mixed album, but generally is a good effort. Heta Linjen are loosely tied to the horn rock genre, but with a distinct Zappa vibe throughout (i.e. early jazz rock, some silly humor), along with a few Canterbury references to boot. The album open dubiously with the not-good title track, only to be followed by the extraordinary 'You Shall Find Your Way', arguably the album's finest moment. Then it settles in from there. 'Black Eyes' is another highlight. Overall, Won't You Step Inside? is a solid record, that follows the early 70s Scandinavian underground rock tradition alongside bands such as Dr. Dopo Jam, Splash, Solar Plexus, and Made in Sweden.

No reissues as of 3/28/25.

5/10/10 (review); 2/16/20 (update / new entry)

Vindication ~ USA ~ Indiana

Vindication (1974)

Vindication were a trio from Columbus, Indiana, who released only this one very obscure album. Once again we're dealing with American teenagers still in high school, similar to Tom Nehls and Richie Duvall. And like both those gentlemen, they were the good kids in class, not rebellious types that are usually rewarded in musical circles. Turns out that the members of Vindication were also all hardcore prog heads, very much into Yes, Gentle Giant, ELP, and King Crimson. And like a lot of youth in the middle of the country, they were also very much into exploring their Christian faith. And this is reflective in the lyrics, but not in the music. This isn't a lame progressive album so as to get the message out. No these kids really went for it, in the same manner as other Midwest bands of the era did such as Yezda Urfa, Xebec, and Graced Lightning. Perhaps not quite as accomplished as the great Yezda Urfa, but for certain they had talent to burn and some intriguing compositions. According to their bio, they recorded and released the album - in very limited quantities, which is most certainly true seeing how few have ever been spotted - between their junior and senior years of high school in 1974 (so the "accepted" date of 1973 seems to have been off by a year). Quite an accomplishment for 16 to 17 year old young men.

Unfortunately they let their faith get the best of them on the closing track 'You and Me and God', and it's a typical youth group sing-a-long (similar to Michigan's Earthen Vessel in that way). So skip over that (unless you happen to like Christian folk songs) and enjoy the rest!

No reissues exist as of 3/28/25, though the band has loaded MP3s of all the songs on the internet if interested.

5/28/10; 2/14/20 (review / new entry)

Stubbs ~ Japan

The Prime Moving Lumps (1985)

Stubbs is a new discovery for me, though it appears to have been out in the blogosphere for some years. In any event, this is hardcore mid to late 70s Hatfield and the North / National Health worship. Which means it pushes all the right buttons for me. There's nothing here to indicate it to be a mid 80s recording. It was retro before retro was even imagined! Probably would have been tagged "dated" in its own day. If it even had its own day. More on that below. With The Prime Moving Lumps you get highly melodic and complex instrumental jazz infused progressive rock. Fuzzy keyboards, bass, and guitar lead the way. Music like this never gets tiresome. This is an album that needs to be discovered by the horde.

As far as its provenance goes, that's more of a mystery. RYM claims it to be on cassette, whereas ProgArchives had it once on CD, now they say it's an LP. Online you might find what looks like a CD, but almost assuredly it's a CD-R mockup. It's not in Discogs at all (as of 3/27/25), and Popsike says there's no history of a sale on ebay. My best guess here - and I've talked about this before - is that Stubbs were part of the tape trading culture of Japan in the 80s and early 90s. It was not uncommon for newly recorded material - live or studio - to be passed around via cassette. These were not official releases, but were meant to gain the artist exposure. For example, Happy Family was well known via this method long before their first official CD arrived on Cuneiform (and even before their one cassette). Perhaps it does exist in physical form already - but it sure is damn obscure then. Wouldn't be the first time, but for now, I think the theory above holds until proven different.

This is certainly an album worthy of a CD release - or reissue if it turns out that way. This hasn't occurred as of 3/27/25.

2/13/20 (review / new entry)

The Bob Bath Band ~ USA ~ Pennsylvania

Traces of Illusion (1984)

The Bob Bath Band, from northeastern Pennsylvania (near Scranton), were basically an instrumental guitar based duo with guests and occasional synthesizer accompaniment. Most of the material on Traces of Illusion is subdued, but not sleepy. The songwriting is above average, as actual thought was given to melody. Generally the music continues to drive forward at a steady pace. So there aren't any neck breaking shifts in meters, but rather a more methodical approach is applied. And every once in awhile, ole "Bobby" kicks the pedals into gear and rips off a mean solo. Had he done that throughout the album, it most certainly would have added one to two points to the overall grade. Definitely doesn't sound like an album from 1984, as the tones are still psychedelic edged, and there's none of that mid 80s gloss. Blindfolded I would have gone with the late 1970s for this album.

No reissues as of 3/27/25.

9/29/13 (review); 2/13/20 (update / new entry)

Malachi ~ England

Malachi (1971)

Malachi's sole album combines the feel-good groovy instrumental organ rock of Eden Rose with the more measured introspective UK scene like Cressida or Still Life. It does seem a bit dated for 1971, more like 1969 – probably due to the "carnival" sound of the organ, which is the dominant instrument. There's also some fine flute sprinkled in. Overall a very pleasant album, with some nice melodies, progressive rock structures, and plenty of edge.

This album remains something of a mystery. As an old ebay auction once stated: "4 UK guys recorded this album in Belgium and only released it in Italy". Yep, that would do it.

No legit reissues exist as of 3/27/25.

11/30/09 (review); 2/13/20 (update / new entry)

Pole ~ France

Inside the Dream (1975)

Pole was both a label and a random group of musicians lead by a one Paul Putti. It wasn't a band in the traditional sense, but rather various get-together's for the purposes of releasing an album. To add to the confusion, the Rizet / Besombes album was also titled Pole, in the same stylized font. This apparently was not authorized by either gentleman. Same thing happened to Henri Roger. From here, Putti sold his label to the now infamous Tapioca imprint. Putti himself carried on to the porn industry, which might explain things from an ethics standpoint.

This history of Putti and the Pole moniker helps explain how two albums can be so entirely different. The first album from Putti, Kotrill, is an avant garde mess, favored by those who worship at the altar of the NWW list. It holds nothing back in its experimentation, but is very difficult to sit all the way through. But on the follow up Inside the Dream, we are treated to a more atmospheric and pleasant album. One that features fine synthesizer textures and excellent guitar leads. Rizet did help on this album, and he foreshadows his next move with Phillippe Besombes, a far more realized collaboration than Inside the Dream.

No reissues as of 3/27/25.

2/13/20 (review / new entry)

Oakley ~ Germany

Peculiar Autumn (1978)

Oakley seem to straddle the border between the more overt late 1970s German progressive bands such as Trilogy and Rousseau - and the Christian folky singalong types such as Eden and Credemus. Overall, it's a rather simplistic album for the progressive rock genre, but the melodies are a cut above the norm and the instrumentals are good if not a bit too straightforward. Some old time revival flute mixed in here and there as well. File under: Nice and harmless.

Not reissued as of 3/27/25.

10/2/13 (review); 2/13/20 (update / new entry)

John Bassman Group ~ Netherlands

Filthy Sky (1970)

The Netherlands' John Bassman Group released only this one album (and a 45 with cuts from that album), and that was it. There isn't anyone named John Bassman for those who are curious who that might be. The album overall is a mixed bag, with some fantastic early examples of progressive rock with female vocals, while others are run-of-the-mill blues rock. The album opens great with 'Filthy Sky', followed by the album's highlight 'His Name Was Tom'. This track features some of the coolest wah wah effects this side of Amon Duul II’s Tanz Der Lemming. The slow burn of 'Two Rings' is also not to be missed. Closer 'Can You Dig It' oddly reminds me of a jangly Black Sabbath 'Paranoid', mainly considering the vocal delivery. There's also some real junk on here too, namely the country / blues / gospel duo of 'Teddy Boy's Blues' and 'Sing a Song at My Grave'. And I've never been a fan of the selfish look-at-us hippy dippy rock of 'Woodstock Generation'. Overall Filthy Sky might appeal to fans of Affinity and Goliath, but there's not near enough meat on the bones here to compete IMO.

There is an LP reissue (Missing Vinyl) but no legit CD as of 3/27/25.

11/27/13 (review); 2/13/20 (update / new entry)

After Life ~ France

Cauchemar (1975)

After Life were a French group whose only album gained a release in Spain. As for the music, it’s one of those baffling albums. On the plus half, there’s a haunting progressive laced sound, with that doomy vibe only the French seem to conjure up. Recalls first album East of Eden or The Visitors, and the vocalist has that gruff voice which is very similar to the guy from Alusa Fallax. Most of these are sung, whispered, or narrated in French. The Visitors influence is not that surprising when one learns that the master of all things obscure is involved: J.P. Massiera. On the downside, and I mean really down, there’s these godawful rock-n-roll tracks, like Bad Company playing the most insipid Bachman Turner Overdrive tunes. Complete with honky-tonk piano, harmonica, and badly accented English vocals. It’s not a good A-side, bad B-side situation, but rather they are intertwined for an entirely frustrating listen.

There is a legit LP reissue (Wah Wah), but no takers on the CD front as of 3/27/25.

11/23/10 (review); 2/13/20 (update / new entry)

Nekropolis ~ Denmark

Suite til Sommeren (1976)

Nekropolis were yet another Danish band who embraced the thing-with-nature angle that seemed to be very popular in the 1970s. And Nekropolis would have to be considered on the folk side of the genre. Pleasant music to sing around the campfire so as to keep the wolves away. It's vocal heavy (in Danish) and lacks any kind of solo instrumental arrangements, so there's little to grab onto here if you're programmed that way. Recommended to those that love that particular 1970s styled woodsy Scandinavian folk rock.

No reissues as of 3/27/25.

10/1/13 (review); 2/13/20 (update / new entry)

Rozz ~ Germany

Eisbrecher (1981)

Rozz were yet another German band playing in what is often called Kraut Fusion (and I have a whole list dedicated to it). Their second and last album, Eisbrecher, is overall a good fusion album, with focus on the guitar work, good melodies, fine production, and excellent playing from all. Does the album have a lasting impact 10 minutes after listening? Well, no. It's all pretty standard stuff for the time and place, without taking any significant chances. But if you haven't heard much in this unique German style, Eisbrecher is good collection filler, especially given how inexpensive original LPs remain. Reference groups include other guitar fronted German fusion bands such as Syncrisis or To Be.

No reissues as of 3/27/25.

2/12/11 (review); 2/13/20 (update / new entry)

Synthesax ~ Germany

Grundlos (1981)

With a name like Synthesax, you may think this is one of those Party-Sax-And-Synthesizers, covering-your-favorite-tunes type of album. Nope. It's just an unfortunate choice of a name for a band. Perhaps had they gone with Mörder Böse, it would have generated a bit more excitement out there. So it's obvious that my accusations are groundless (hoho).

Synthesax are an instrumental group who play a fiery fusion with - yes - synthesizers and saxophone. As well as a very tight rhythm section, Fender Rhodes, and... some pretty mean electric guitar licks too. There are some really fine peak moments here when they get into the zone and rock out. The more introspective moments tend to drag and then I feel ready for a nap. And there is a little too much happy sax here for me (of course there is), but the melodies and compositions win the day. Fans of the fusion genre won't want to miss out on this one.

No reissues as of 3/27/25.

10/5/13 (review); 2/10/20 (update / new entry)

Yucatan ~ Germany

Yucatan (1982)

Yucatan were a band that had no idea what they wanted to be, so they threw a lot of mud against the wall, and hoped something would stick. History tells us that strategy never worked. And it appears Yucatan were yet another victim. But not before demonstrating they had immense potential to be a great progressive rock band. Even though Germany had some odd obsession with Mexico during this period in time, Yucatan, despite the name, has zero influences from our neighbor to the south.

I suppose if I was to summarize in a hurry, I'd call Yucatan a Deutschrock band and walk away. But that would disregard the fact that when Yucatan wanted to, they could deliver a highly fascinating and complex sequence of progressive rock music. And yet they could as well incongruously take a direct lift from Eddie Van Halen's 'Eruption' solo and stick it in the middle of a song. For no reason, it would appear, other than to perhaps satisfy the guitarist that he indeed learned how to play it after four years of intense practice in front of the mirror. I just sat there waiting for the riff of 'You Really Got Me' but instead got the Gunther blues voice. And speaking of which, there is a tepid attempt at playing heavy metal here too. There's some galloping guitars (with no heft at all), and a few other tries at a sound that local countrymen Accept had already mastered with their brilliant and very heavy Restless and Wild album (and sadly, Accept then degenerated into an AC/DC party band not long after, much to my dismay). And then there's the 4th track. A very fine slice of instrumental organ / guitar driven progressive rock (though the ridiculously thin sounding synth at the opening is entirely unnecessary)!

So what we have here is an AOR radio friendly-70s progressive rock-German vocal-English vocal-heavy metal-boogie rock-symphonic-badly dated sounding synthesizers-killer organ-excellent psychedelic blues solos-good hard rock guitar-bad metal guitar album. One that was privately released. If there was ever an album that would be better to cherry pick a few songs off for a compilation of unknown German progressive bands, then this would be that album.

No reissues as of 3/27/25.

10/4/13 (review); 2/10/20 (update / new entry)

Sloe Gin / Flintsprint / Pythagoras ~ Germany

Birth of a New Place (1978)

Birth of a New Place is an excellent compilation of three bands that have yet to surface anywhere else (unfortunately). The first two tracks are from Sloe Gin, and I thought they were nothing short of amazing. A real Canterbury vibe exists throughout, with wonderful flute and fuzz guitar soloing. Good soft affected English vocals on the second track as well. This is one of those bands you hope that Garden of Delights or Long Hair would find some obscure archival radio session to release. Reminds me of some of those great bands you'd find on the Umsonst and Draussen albums. Both Flintsprint and Pythagoras have a similar sound, but definitely have less compositional acumen, nor do they possess the instrumental palette of Sloe Gin. The latter in particular sounds like a rhythm track awaiting some front line soloist to jam on top of. Flintsprint sounds like they were about six months away from having some significant material (their first track on here is quite good). All in all, a very good compilation - one that is worthy of a reissue on its own. Though even better would be separate albums from all three groups presented here.

No reissues as of 3/27/25.

10/7/13 (review); 2/9/20 (update / new entry)

Indigo ~ Germany

Die Angel im Gras (1979)

Germany's Indigo - not to be confused with the Austrian post-Kyrie Eleison pop group - were a melodic progressive rock band that seem to be clearly influenced by Novalis, maintaining the slower pace, with plenty of organ, early polyphonic synths, fine nice electric lead guitar, and spacey vocals defiantly sung in German. Other references include mid to late 1970s Pink Floyd, Faithful Breath's Fading Beauty, Fly, and Minotaurus. Of their three albums, I'm leaning towards calling Die Angel Im Gras the best of the lot. The album does start off really slow, but picks up nicely with some fine instrumental breaks.

All three of their albums have becomes quite expensive in modern times. This is the only one I never owned.

No reissues as of 3/27/25.

10/6/09 (review); 2/9/20 (update / new entry)

Gemini ~ England

Counter Balance (1981)

Counter Balance is the sole release from England's Gemini. Coming out just before the NWOBPR boom, Counter Balance represents a strong album for both melody and composition. If there's a complaint, it's the over reliance on period synthesizers, which are a bit thin sounding and could use some heft. And the lack of other lead instrument vehicles like sax, flute, organ, etc… makes this a bit monolithic to sit through, given that it's an all instrumental album. The rhythm section is quite good however, maybe not crisp, but precise all the same. And the final long track features quite a bit of electric guitar soloing, adding exactly what the album calls for. Overall an excellent progressive rock album in an era when few were to be found, especially in England. Certainly on par with Protos - the other very rare Airship label album.

No reissues as of 3/27/25.

5/8/10 (review); 2/8/20 (update / new entry)

Gamma ~ Netherlands

Darts (1974)

Gamma's sophomore effort Darts is a welcome departure from their debut. Gone are the iffy vocals and its place is an excellent blend of sensual soft fusion mixed with occasional loud guitar and organ leads. I really like the mood of this album, and the grooves are superb. Generally mislabeled as a prog rock album, Darts belongs more to the jazz rock school. Not flashy in the slightest, but focus is on melody and rhythm, where it should be. Speaking of Focus, 'Your Face' sounds lifted straight from the Moving Waves sessions. Great album, almost every track a winner!

No reissues as of 3/27/25.

7/14/09 (review); 2/6/20 (update / new entry)

Fresh Start ~ USA ~ Detroit, Michigan

What America Needs (1974)

Fresh Start's sole album is an excellent example of the American ghetto funk rock sound that was popular in the early 70s. Lead by guitarist Paul Frank, who hailed from the Detroit area and was formerly in the band Head Over Heels, Fresh Start formed in California and took advantage of the music scene thriving there. What America Needs is a killer slice of heavy funk rock, the kind you wish all of these type of albums to be. Michigan rockers Rare Earth and Grand Funk Railroad are two obvious influences, but one will also hear similarities with obscurities such as Purple Image and Lost Nation. As expected, there's plenty of great guitar leads courtesy of Franks, especially on 'Gypsy'. Other than the relatively more radio friendly 'Right Away', most of this album just kicks ass non-stop. Given that's it's a < $10 record, don't miss out on this one!

No reissues as of 3/27/25.

Ownership: 1974 ABC Dunhill promo (LP)

12/14/13 (review); 2/5/20 (update / new entry) 

Schäggi Bädsch ~ Germany

Plankton (1983)

Schäggi Bädsch are one of those bands that had been around forever before finally recording an album. For certain had they released an album in the 1971 to 1974 time frame it would be hailed as a Krautrock classic today. By the time they did find time to get into the studio, the magic was lost, and their audience dwindled significantly. Having said that, Schäggi Bädsch's sole debut is a perfect fit for the Schneeball label, as musical elements of label founders Embryo and Missus Beastly both can be found. There's a trace of the ethnicity that the former brings, with a certain jazz rock abandon of the latter. Perhaps Plankton ties closest to Embryo's Zack Gluck or maybe even the post Out of Focus group Kontrast. Interestingly enough, I even caught a glimpse of those wacky Italian progressive rockers Delirium, circa their brilliant second album. Unfortunately they dedicated their longest song 'Waterphone Call' to an aimless improvisation, calling out Henry Cow at their worst, and adding an unrecoverable stain to the proceedings. Still, I think a reissue would do well, especially if there are bonus tracks from their past to be found.

No reissues as of 3/27/27

1/22/11 (review); 2/4/20 (update / new entry)

The Collective Star ~ USA ~ New York City, New York

Music of the Mantric Wave, Vol. II. (1974)

The Collective Star is keyboardist Paul Ramana Das Silbey's first foray into recorded music, while still a resident of New York City. Today, now a resident of the Californian Bay Area, he is known as a "romantic classical concert pianist". The Collective Star is what I'd call proto New Age music. Plenty of what we would now call "world music" presents itself, via eastern instrumentation and scales (hand percussion, sitar, etc...). Lots of period lyrics full of love and peace. Honestly music like this can be very interesting, and I think in the formative stages - as is the case here - it was. It sounds more authentic and heartfelt than the sanitized gloss we've been subjected to since the early 1980s. There's quite a bit of edge in the jam sessions (acoustic guitar, flute, piano, organ), which adds points. Maybe even a little anger that hasn't quite been purged from the soul yet. Not exactly Popol Vuh when looking for "higher key" sounds, but that's not a bad benchmark either. Also fellow New Yorker's Arica may have played an influence here.

No reissues exist as of 3/27/25.

12/28/10 (first listen); 2/4/20 (review / new entry)

To Be ~ Germany

To Be (1977)

To Be - now there's a name / title that's easy to find on the internet. When I first heard this album, I hated it. Of course, I fully expected it to be a full-on Krautrock album filled with heavy organ and acid guitar solos. It's on Brain right? And that cover looks great to me. And long tracks too! Yea, well, that goes back to 1988 when I found it at a local record show. So YouTube boy, don't get all high and mighty on me that I should have known better.

Many years later, I caught the "Kraut Fusion" bug. And To Be is a bullseye for that style. Latin tinged fusion, in particular, was all the rage in late 70s Northern Europe. So what we have here is an instrumental mid 70s Santana mixed with Return to Forever. Some fine guitar solos, extra percussion, and complex unison runs are what you'll hear. All packaged nicely to go with your Pina Colada. It's a bit slick, sure, but I like it.

No reissues as of 3/25/25.

Former ownership: 1977 Brain (LP)

1988 (first listen); 7/3/10 (review); 2/3/20 (update / new entry)

Mother Yod ~ England

Mother Yod (1997)

The first album offered from the one time experiment/series known as the Prescription Drug label. This one at least gives hints to its 1997 date, with a decidedly post-rock sound mixed with the overt 70's Krautrock underground aesthetic that all of the label's groups possess. Only duffer track is a short vocal folk piece (which sounds too much like the duffer vocal folk pieces on real Krautrock albums!) Heavy use of analog instruments per recipe, with emphasis on processed keys and fuzz bass. Electronic percussion sounds more modern, though I think they're going for the early 70s Klaus Schulze variety of that sound (Picture Music, Blackdance). Neat use of choral voice (not mellotron). Not quite at the high standard of Ohr Musik and Quad, but pretty close. Good album.

Ownership 1997 Prescription Drug (LP). These LPs were supposedly strictly limited to 99 only pressings. Ours is numbered though it's suspiciously the same as another numbered copy. Which puts the total in question. Covers are hand sprayed.

6/6/10 (first listen); 10/27/11; 2/3/20 (update / new entry)

Richie Duvall and Dog Truck ~ USA ~ Long Island, New York

Richie Duvall and Dog Truck (1973)

---2/3/20

 

Here's a new discovery for me and one that did not manage to waft under my nose during the CDRWL heyday. Last year's completely new finds of Terry Masters and Christian Friday constantly remind me that we'll probably always be discovering something from the past. And that doesn't count newly unearthed archival recordings, that I'm sure will continue on for another few decades. Richie Duvall and Dog Truck are a known entity, just not one I'd run into before. For those curious, the artist themselves have released the album on YouTube, and it's how I heard it. I think they should just go all the way with a CD reissue here (and full historical essay).

From an innovative and background perspective, Long Island's Richie Duvall and team ties closest to Minneapolis' own precocious Tom Nehls and his running set. Once again we're dealing with the smartest kids in high school who decided to release an album of great invention. Whereas Nehl's tapped into a strange kind of late era psychedelia, Duvall tried his hand at jazz fusion. Not in any typical sense mind you. In fact, what one hears is a strain of Canterbury. In 1973 America? Now that's inspired. The only band I can think of that tapped into this vein back then were The Muffins, and they didn't arrive until a few years later (thinking their 1976 archival Chronometers here). As with Nehls, it comes as no surprise that Duvall and group were inspired by Frank Zappa and Captain Beefheart. The type of jazz rock played here is incredibly in control and highly melodic. Perhaps it would have been better served with some more of that teenage angst, but they are to be admired for their discipline and maturity. Dog Truck is a large ensemble with many instruments on display, including multiple horns. The front cover of the album itself says of the music: "Half poly-precipitated jazz and half post-meditation rock". 

Like I said, these were the smart kids in the class. 

---10/18/24

I've now obtained the LP after almost five years on the want list. What great insights do I have to offer beyond what I said above? Nothing really. Such an anomaly - where on Earth did they get the inspiration? I suppose the English bands as noted above, but they were unique to do that here in America. Someone needs to do a dissertation here. 

Ownership: 1973 United Sounds (LP). It appears my copy once belonged to trombonist Skip West, based on a note inside the LP.

No reissues exist as of 3/31/25.

2/3/20 (review); 10/18/24 (update)

2/3/20 (new entry)

Strandgut ~ Germany

Strandgut (1979)

Strandgut were a band from Germany who released this one obscure album and then disappeared into the wilds. Their sound is not an uncommon one from the time and place - that of a female vocal led AOR / symphonic progressive rock blend. If you're familiar with bands as diverse as Rebekka, Werwolf, Credemus, Eden, Streetmark, and Epidaurus, then you should know what to expect here. There are six tracks, the four shorter ones possess a commercial feel, though I find Heike Kensy's voice very pleasant. The melodies are well thought out, and the tracks are wonderfully arranged. There are times you hear a band and wonder why they weren't noticed when so many lesser bands did get that undeserved attention. That is Strandgut. Of the six tracks here, only one is in English (despite titling two tracks that way). I find the German lyrics welcoming in this environment. Of course the two longer tracks allow Strandgut to stretch out with some fine organ, synthesizer, and (especially) electric guitar runs. This is not a hardcore prog album by any means. This is for fans who have a tolerance of a commercialized sound, but executed in an innovative way. I think a quality reissue would be well received. Supposedly only a few hundred copies were printed. Given that I'd never even heard of this album until very recently, it would seem to be a believable total.

Not reissued as of 3/25/25.

2/2/20 (review / new entry)

Demian ~ USA ~ llinois

Rock Star Farm (1974)

This Demian - not to be confused with the Texas band - were from Moline, Illinois, a populous area near Iowa known as the Quad Cities. Rock Star Farm is their sole album and flows similar to a rock opera, and is extremely vocal heavy. There are some nice guitar and organ passages here and there, but it's not really a prog or hard rock album as is often purported. I suppose if they weren't telling some sort of story, one could compare this to the politrock albums of Germany. More from a listening perspective verse the purpose of the album. For whatever reason I was reminded of the Capability Brown albums from England. A very interesting album from the American Heartland, and definitely outside the norm. Worth hearing for certain, though if seeking an original LP, prepare to fork over a large amount of moolah.

Not reissued as of 3/25/25

2/2/20 (review / new entry)

Mackenzie Theory ~ Australia

Bon Voyage (1974)

Bon Voyage is the second and last album from Australia's Mackenzie Theory. Their main ingredients were electric viola and electric guitar, which gives off more than a whiff of classic Mahavishnu Orchestra, though more stripped down to its core. Given the live setting, Bon Voyage is definitely more "jammy" than Out of the Blue. Unfortunately 'The C Thing' is marred by a lengthy drum solo. Best track goes to the closer 'Supreme Love' that takes Coltrane's famous tune and turns it upside down into a fiery jam. Overall a very fine album especially for those who love the rougher edges of jazz fusion.

Ownership: 1974 Mushroom (LP)

2//95 (first listen); 4/16/11 (review); 2/2/20 (update) 

Out of the Blue (1973)

I think the best way to describe Mackenzie Theory's debut is that of a laid back Mahavishnu Orchestra. Which sounds like an oxymoron, but when you hear Out of the Blue it will make sense. Electric guitar and electric viola are the main protagonists here, and both put in a splendid performance. Not only do they possess the necessary chops, but also achieve the most wonderful psychedelic tones. The music is clearly composed, and offers far more than the usual three note backdrop while throwing endless boring jams on top. The tight ensemble work is really where the Mahavishnu Orchestra comparison comes in, especially at the time of Inner Mounting Flame. Another element that Mackenzie Theory excels at is pacing - that is to say, their ability to slow a song down and suddenly propel it back to a blistering speed. It adds a level of unexpected excitement, and it's just these kind of surprises that make Out of the Blue a truly progressive jazz rock album. And don't miss the live version of  'New Song' as presented on the Aztec CD, as it will leave your speakers smoldering for a few hours afterward. This is a must own album for early instrumental fusion fans.

Ownership: 2009 Aztec (CD). Tri-fold digipak. With copious / insightful liner notes, photos, a much improved sound, and one smoking hot bonus live track.

1994 (first listen); 2009; 3/29/13; 8/5/14 (review)

8/5/14 (new entry)

Jean-Michel Desbouis ~ France

Prince (1982)

Jean-Michel Desbouis' sole album was a mystery for years. I had a cassette going back to the 90s that simply stated "Prince (1986 France)". Years later while conducting research for the CDRWL, I received another file. And sure enough, it was exactly this album. Once you realize the album was pressed by FLVM, the French do-it-yourself label, then it becomes clear on how this could happen. How many were pressed? Who knows, probably a small total seeing how few have ever been offered, or are currently owned (as noted by Discogs).

The music is a combination of electronic soundscapes and Berlin School styled sequencer driven composition. The female vocals from Stella Vander - yes that Stella Vander - add an otherworldly vibe to the proceedings. Definitely recommended to fans of 70s French and German electronic music.

Not reissued as of 3/25/25.

2/15/12 (review); 2/2/20 (update / new entry)

Nuevo Mexico - Hecho en Casa + Nuevo Mexico (Ceramica). 1975/1979 Mexico

When I think of progressive rock from Mexico, I immediately go to the 80s when bands such as Iconoclasta, Delirium, and Praxis first hit the scene. And certainly Mexico had a most exciting psychedelic period in the early 70s that included Dug Dugs, Toncho Pilatos, Antorcha, El Tarro De Mostaza, El Ritual, and a few others, most of them hiding on obscure 45s. But classic 70's styled Prog? Nope. Can't think of any.... except one. And here it is. Nuevo Mexico's Hecho en Casa. And it's not just merely good, but rather it's great! Mostly I'm reminded of the Italian scene, and specifically Osanna comes to mind. This is primarily due to the harder edged guitars, impassioned vocals, and the strong presence of flute. Just hearing this album tells us there's plenty more from the time and place. But was it recorded - that's the question isn't it?

As for the second album, I completely misunderstood it on original listen some 23 years ago. I had it in my head as some sort of Latin pop/boogie rock album. But that's not right. It's not really a prog album, nor is it hard rock, but it has elements of all the above. There's also a couple of instrumentals that recall prime era Santana. It definitely fits the term "eclectic". So while not every track is a winner, the majority are satisfying with a couple of skip-overs. Maybe not worth having on its own,  but certainly great to have as bonus tracks.

Ownership: CD: 1997 La Ciruela Electrica. Both of  Nuevo Mexico's albums are on this CD en todo. Not sure of the date of the CD, but since that's when I bought it, we'll be bold and call it! The CD has no info beyond track titles.

2/2/20 (new entry)

Psopho ~ Belgium

Sheer Profundity (1982)

Psopho were an obscure band from Belgium that were part of the first wave of neo prog bands, without probably realizing they were part of any kind of scene. One can hear similar sounds emanating from fellow countrymen such as Isopoda and Now. In addition, the same mindset Germans come to mind here like Tibet or Ivory. As is often the case, the vocals are a bit of a weak link as is the production. But in reflection, the compositions are quite adventurous and hold up well on multiple listens. This one still has room to grow in the rating column. I think fans of the early NWOBPR movement will find much of interest upon hearing Sheer Profundity.

Not reissued as of 3/25/25

10/26/10 (review); 2/2/20 (update / new entry)

Hausmusik ~ Germany

Ear Mail (1980)

As I listen to and review the CD Reissue Wish List items - that is those albums that have yet to be reissued and I haven't picked up the originals in the meantime - it's quite fun to find albums that remain undiscovered even some 10 years later. Ear Mail is one such album. Released only on cassette, the album still has yet to be entered into Discogs (as of 3/25/25 this remains true), even though the cassette label has other entries presented there.

Hausmusik features an all-star lineup of Ingo Bischof (Karthago, Guru Guru, Kraan), Butze Fischer (Embryo, Missus Beastly, Moira, Guru Guru), Roland Schaeffer (Fashion Pink, Brainstrom, Guru Guru), Gerald Luciano (Guru Guru, Embryo), and Jan Fride (Kraan, Guru Guru). It would appear Guru Guru is the glue on this one. Given the pedigree, one would think more buzz would surround it.

Ear Mail is a fascinating album that contains a fusion of Eastern / Asiatic music, jazz, and rock. The album is filled with lengthy improvisations that would have benefited from a nice editing, though it's still a pleasant listen. Musically Ear Mail ties closest to the Embryo offshoot group Sadja (yet another cassette only band that time forgot), though there are more rock elements presented here.

It must be said that Ear Mail is not the best recording in the world, and one wonders if it was ever intended for mass release. Today, this would probably be a limited released on CD-R. The 1980 equivalent was the cassette. And sure, very limited no doubt. This was an old AC discovery, one of many great finds he dug up.

Not reissued as of 3/25/25.

1/23/11 (review); 2/1/20 (update / new entry)

Hot Flash ~ USA ~ Boston, Massachusetts

First Attack! They'll Never Take Us Alive (1977)

Hot Flash were a band from the Boston area, that were typical of the time and place. In fact one could see Hot Flash following fellow area megastars Boston themselves. Perhaps a bit tongue and cheek though - or even poking fun - given the band's moniker and album title. There's no doubt the band has AOR / radio ambition, but there is a smattering of progressive rock, more so than most bands operating in this territory. When you look out to the private press world, a band like Minnesota's Fairchild comes to mind, though again there's a bit more complexity found here. Better than other locally produced, often highly revered Beantown prog bands such Blind Owl and Marianus. When this album first hit the collectors' market, there was quite a bit buzz surrounding it. But as usual it probably wasn't all that. So sure, it's very good, but certainly not astounding.

Not reissued as of 3/25/25.

12/26/09 (review); 2/1/20 (update / new entry)

Chemical ~ England

Chemical (1996)

For the most part Chemical's sole release is a darkwave album (of the non synthesizer variety) hiding in Acme's stable of psychedelic bands. Even the cover looks like an album one would see from the Ventricle label. Beyond this, there are a couple of Eastern influenced psych folk numbers on Side 1 that are quite excellent. Then the first half of Side 2 goes by mostly unnoticed, but there is a huge payoff for those who stick around: A colossal psychedelic jam with organ and electric guitar, followed by a haunting outro. Recommended especially if you like the idea of modern darkwave with a dose of psychedelia.

Ownership: 1996 Acme (LP). Numbered edition. Comes in a oversized flimsy folder cover, that's easily bent at the top. 

1997 (first listen); 2/1/20 (review / new entry)