Bronin Hogman Band. 1975 USA-New Hampshire

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 8 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 1 to 2 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!)

Ownership: LP: 1975 Gamut. Single sleeve. Recent online acquisition (2020) that replaces the cd-r that made up the original entry.

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

Mazeville Crossing. 1975 USA-Colorado

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...

LP sold.

Nova - In the Clouds. 1976 USA-California

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.

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Stubbs - The Prime Moving Lumps. 1985 Japan

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 (and is the image provided here). It's not in Discogs at all, 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.

yt

The Bob Bath Band - Traces of Illusion. 1984 USA-Pennsylvania

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.

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9/29/13 (CDRWL)

Pole - Inside the Dream. 1975 France

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 followup 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.

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Oakley - Peculiar Autumn. 1978 Germany

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.

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10/2/13 (CDRWL)

John Bassman Group - Filthy Sky. 1970 Netherlands

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 CD as of yet.

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11/27/13 (CDRWL)

Nekropolis - Suite til Sommeren. 1976 Denmark

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.

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10/1/13 (CDRWL)

Synthesax - Grundlos. 1981 Germany

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.

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10/5/13 (CDRWL)

Yucatan. 1982 Germany

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 4 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.

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10/4/13 (CDRWL)

Sloe Gin / Flintsprint / Pythagoras - Birth of a New Place. 1978 Germany

Birth of a New Place is an excellent compilation of 3 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 6 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 3 groups presented here.

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10/7/13 (CDRWL)

Fresh Start - What America Needs. 1974 USA-Michigan

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!

Ownership: LP: 1974 ABC Dunhill. Single sleeve. White label promo. Purchased online from b&m in 2013.

12/14/13 (RYM) 

To Be. 1977 Germany

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 bulls eye 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.

Ownership: LP: 1977 Brain

7/3/10 (CDRWL); 2/3/20 (new entry)

Mother Yod. 1997 England

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 LP: 1997 Prescription Drug. 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 (CDRWL)

Strandgut. 1979 Germany

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 6 tracks, the 4 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 6 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.

yt

Demian - Rock Star Farm. 1974 USA-Illinois

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.

yt

Mackenzie Theory - Bon Voyage. 1974 Australia

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: LP: 1974 Mushroom. I've had the LP since the mid 90s. For whatever reason, Aztec chose not to reissue this title (though it was announced they would back in 2009) and it remains in that state to this day.

4/16/11 (CDRWL) 

Jean-Michel Desbouis - Prince. 1982 France

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.

Our good friend The AC had a great explanation as to why this album had the wrong info for many years: "The whole presentation of this LP is bound to cause confusion. The front cover has absolutely no text on it, while the back cover is basically the same as the front, but with just "Prince" printed on the top. Only the insert has any information on it, but it only lists the track titles and musicians. There's no release date printed anywhere on the LP. I knew from the sound, style and place of origin that it was probably an early 80s album, but I couldn't be certain until I found Desbouis' own Myspace page, which confirms that it was recorded in late '81 and released in '82. This is definitely one of the rarest of these French electronic prog LPs, so I could certainly envision a scenario where years back some prog fan finds the LP, but it's missing the insert. It then enters into circulation via tape trading, with no real information other than that it's called "Prince"... ...This would also explain why, aside from the fact that it's always been very hard to find to begin with, that it's remained so obscure. Because if people really knew that it had Stella Vander singing on it, I'm sure it would have been a much better known item in the prog underground for years now, due to the general obsession with all things Magma."

And here is his original notes regarding the music: "Extremely obscure French electronic prog album, and quite similar to other efforts of this type from the late 70s/early 80s underground scene. The main difference here is that none other than Stella Vander is on board to provide vocals on some of the tracks, which is a very nice addition. The whole album has a sort of floating, spacey vibe that's somewhat trance-inducing. It's high quality stuff, and definitely recommended to fans of the genre. Unfortunately, it's also one of the rarest LPs of this kind. Desbouis had previously played in a band named Aum, and is still musically active to this day."

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2/15/12 (CDRWL)

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)

Chemical. 1996 England

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: LP: 1996 Acme. Numbered edition. Comes in a oversized flimsy folder cover, that's easily bent at the top. I bought my copy online not long after release.

1997; 2/1/20 (new entry)