Michel Moulinie ~ France

Chrysalide (1978)

One man show Michel Moulinie crafted his sole work for the Crypto label in 1978. Perfect for the time and place, Moulinie's work is similar to other like minded French underground artists such as Phillippe Besombes and Richard Pinhas. The use of acoustic guitar gives the recording a warm touch, that can be missing from the more clinical works of the era. I would guess that Moulinie was quite familiar with some of Mike Oldfield's classic works at this stage. The violin (or as it is credited "guitare violon") has a haunting, almost mellotron-like sound. On 'L'Echo de L'Acier' and 'Lente Course', Moulinie experiments with sound on sound techniques, that recall Manuel Gottsching on Inventions For Electric Guitar. A very beautiful album, and one that has no peer in terms of sound and execution.

Ownership: 1978 Crypto (LP)

Still not reissued on CD (legit) as I update this post (2/21/25).

1987 (first listen); 6/17/10 (review / new entry); 12/23/24

A.F.T. (Automatic Fine Tuning) ~ England

Automatic Fine Tuning (1976)

It's not easy to maintain an interesting album with dual electric (no acoustic) guitars carrying the load throughout the entire recording, but that's exactly what A.F.T. manages to do. The rhythm section is no slouch, but their primary purpose is to keep the compositions moving along, rather than act as a feature. So no boring drum solos, or acrobatic meter sections are highlighted. Just dual guitars, with occasional solos. Fortunately guitarist's MacDonnell and Cross are up to the task, and provide the listener with many exciting sections, and add plenty of tonal changes to keep it interesting. The knee-jerk reaction is to compare AFT to other dual guitar acts from the UK such as Wishbone Ash and Man, but that isn't really the case at all. In fact, you have to fast forward another decade, and look towards the California group Djam Karet for any kind of relative comparison. While the feature pieces are the lengthy tracks that opens each side, the shorter track on Side 1 is similar, and no less exciting. The final song sees the band try their hand at a more straightforward hard rock format, with vocals. And while pleasant, the 3+ minute track comes across as a bit of a throwaway. Otherwise a super album.

Ownership: 1976 Charisma (LP). Acquired in 1985.

Reissued on CD, Nov 2026.

1985; 6/16/10 (review)

Gualberto ~ Spain

Vericuetos (1976)

Vericuetos is a Spanish progressive rock classic. Borrowing heavily from the music of India and regional Spain (Andalusia especially), Gualberto incorporates these sounds with a classic Anglo progressive rock perspective for a truly unique blend. Gualberto's guitar style is soulful and rocks hard in places. He also contributes quite a bit of sitar for this album. Plenty of violin and String Synthesizer as well. A must discovery.

Ownership: 1976 Movieplay (LP). Gatefold. Upgraded from single sleeve in 1997.

1993; 1997; 6/11/10 (review)

Previously owned: A La Vida, Al Dolor

6/11/10 (new entry)

Ship of Fools ~ England

Out There Somewhere (1994)

Out There Somewhere is the second and last album from Ship of Fools. They were one of the last of the UK Festival bands to emerge before the scene began to die down. Their formula was a bit different than the others, and perhaps they were more a reflection of their era - the early 1990s. While not an electronica group per se, Ship of Fools incorporated many of the key elements of the scene. Primarily Ship of Fools were about atmosphere & melody over pyrotechnics. They would typically use synthesizers along with sampled instruments and voices to build the mood. After which a heavy guitar riff may appear, giving off a hint of something more dramatic than is actually happening. This is the mastery of dynamics, a skill many bands of their era, and even more so today, could learn from. There are rarely any tricky meters, or flashy guitar solos, and yet there are many heart pumping moments to be found.  They quit at a good time I think, as they'd said what they needed to, without becoming mind-numbingly repetitive.

Ownership: 1994 Dreamtime (CD). Acquired in 1994.

3/23/10 (review)

Also own: Close Your Eyes (Forget the World)

3/23/10 (new entry)

Made in Germany ~ Germany

Made in Germany (1971)

Made in Germany are yet another example of the many great female vocal lead proto progressive albums coming from Europe during the 1971 era. Sometimes panned as a "pop" album that hasn't "aged well", there are truly only scant examples of that to be found here (opening tracks on each side are pure plays for pop stardom). Anyone familiar with the continental European scene of this time, will instantly recognize the Berlin based Made in Germany as a prototypical adventurous band for their time. Listen for organ, flute, acid guitar, and the husky female vocals that are all associated with the genre. Joy Unlimited would have to be considered Made in Germany's closest comparison.

A year after this release, Metronome launched the Brain label, and that's most certainly where Made in Germany would have been placed had they still been around. 

Ownership: 2002 Long Hair (CD). Booklet with unique liner notes, photos and many bonus tracks. The bonus tracks do show the band going into an entirely pop direction and are of iffy quality. Acquired in 2010.

3/22/10 (review / new entry)

François Thollot - Contact. 2002 France

Though a percussionist by trade, Thollot's second solo album Contact features his guitar and keyboard work. Thollot then went about to recruit the rhythm section of One Shot (a band created as an offshoot of the Magma reunion), and released this one incredibly powerful album.

In fact, I'd say Contact is one of the Top 10 albums of the last decade - and that's quite an achievement in a very busy, and very qualified ten years. What Thollot managed to create is an album about as close to Heldon's Stand By as you'll ever find post-1979. Stand By as many of you know, was Richard Pinhas' swansong for the famed Heldon, and he must have left the studio still smoldering from the inferno he had just unleashed. It's also worth noting that Stand By was the one time that Pinhas had incorporated a little bit of the Zeuhl style, and the mix was a stroke of brilliance. In that manner, Contact is basically intense guitar filled electronic rock with a Zeuhl undertone as provided by the One Shot guys. Absolutely stunning album.

Ownership: CD: 2002 Soleil Zeuhl

2003; 3/18/10 (new entry)

Neu! ~ Germany

Neu! (1972)

Ah, good ole Neu! The band that neo-hipsters think invented Krautrock - or defines Krautrock. Featuring ex-Kraftwerk members, and the music is remarkably similar. In fact, Neu! defined the direction Kraftwerk was to go into before Kraftwerk themselves actually did. To be fair, Neu! were a groundbreaking group and were one of the original bands on Brain / Metronome. And as time has passed, certainly the most beloved of the original bands on the label - if not the most popular. For my tastes, I have this album rated as very good, but nothing more.

Ownership: 1973 Brain (LP). Gatefold. Green label with Metronome. According to Discogs, this was released one years after the first pressing. My copy has the original inner sleeve dating to 1973, so probably it's correct. Acquired in 2026.

First copy: 2001 Astralwerks (CD). Acquired in 2004.

2004; 3/17/10 (review); 1/28/22 (update)

3/17/10 (new entry)

Room ~ England

Pre-Flight (1970)

Room are yet another band from the 1970 era with female vocals, and a jazzy / bluesy / psych sound that was all the rage at the time (Affinity, Goliath, Catapilla, Frumpy, etc...). And I love everyone one of them. Room are no different, though they added a little mini-orchestra to spruce things up. Great stuff.

---9/17/22

Honestly there just isn't that much to add. This time I heard more Sandrose in their sound (and Room were two years prior). Goliath might be the closest overall. Side 1 has more of a blues angle while all of side 2 is hard edged prog. An excellent album throughout, but it does require the listener to take in the time and place aspect. A charter member of my Post Psychedelic, Proto Progressive with Female Vocals list.

Ownership: 1994 Si-Wan (CD). Liner notes in Korean. 

3//95 (acquired); 3/11/10 (review / new entry); 10/16/12; 9/17/22 (update)

Avalanche ~ Netherlands

Perseverance Kills Our Game (1979)

---4/2/01

For hardcore collectors of progressive rock music, the obscure megabuck private pressing almost always ends up being somewhat of a disappointment. The hit ratio of great quality obscurities is quite low. There are many reasons for this including low budgets, amateur musicians, lack of direction and so on. So when a pure gem like Avalanche is found while wading through the chaff, there is some real cause to take notice and celebrate.

On the mostly instrumental Perseverance Kills Our Game, Avalanche achieves all that makes a low-budget production endearing. First of all, the playing is true to the heart - an intangible that is subtle though very recognizable for those who hear these type of recordings on a regular basis. The musicianship here is superb though hardly symphony orchestra quality. And there is a real intimacy that surrounds the atmosphere - as if you're in the room while they're recording. And perhaps the fact that Avalanche have six full-time members helps keep the album from the one-dimensional nature of most private releases.

Side one is primarily a folk rock affair with wonderful acoustic guitar, piano, bass, drums and sparse (one track), but well done vocals. The real highlights, though, have to be the gorgeous flutes (various types) and the soaring and spiritual electric guitar work. For pure haunting folk, 'Cola-tik' is the embodiment of melancholy whereas the progressive folk rock number 'Maiden Voyage' displays the band's talent with extended compositions.

While the opening side is excellent, there is no foreshadowing of the brilliance to be found on the flip side. It moves beyond folk rock to a more complex prog rock sound and climaxing at the end of the album with a psychedelic space rock sequence not found since the glory days of Krautrock and bands like Ash Ra Tempel. 'Transcendence' starts this side with serene piano and is augmented by bombarde and flute. Then a powerful electric guitar enters to play the same beautiful melody. The tone gets noticeably louder until there's a dramatic break. Here, Avalanche display a ferocity that is a complete contrast to the delicate and mellow nature displayed so far. A soft, two-minute acoustic ballad is inserted to calm the nerves before the massively powerful 'Oblivion enters. This 11-minute plus opus is the high water mark for folk rock. As on 'Transcendence', the composition opens softly with a stunning acoustic guitar melody which is then offset by some dire sounding flutes followed by harmonium. It's just unbelievably pretty yet somehow very sad. Just when you're ready to cry, the electric rhythm guitar begins a simple, jazzy pattern. The bass and drums follow shortly thereafter creating a head-moving groove. Entering unannounced is a twin guitar attack which begins to pulverize your senses. The sound is heavy and acidic like that of Manuel Göttsching, and the playing has the same soul the Ash Ra guitarist has. The solo contains a number of original melodies within that add to the special quality. And this goes on for close to seven minutes to solidify one of the most intense and beautiful guitar solos in rock history. The album ends at the peak of the solo; one almost wishes for another 15 minutes to be found from the same tape. What a trip through the emotions!

---3/9/10

My first encounter of this album was via a cassette tape from a well known Dutch dealer back in the early 90s. He sold dubs of rare albums for a reasonable price (after all - it did take time to do + cassettes weren't free either), and this was long before the internet and Youtube. I bought a few rare items from him (again, dubs on cassette), and this was my favorite. I couldn't afford the album back then (not even close). It was fitting, then, that I did buy the original LP from the same gentleman (by this time, more of a personal friend).

For many years the band didn't want to go forward with a reissue because the master tapes were lost. But another old acquaintance of ours, Guerssen, must have said the right words - and with modern technology - has created a wonderful sounding reissue.

Ownership: 

1979 Starlet (LP). Single sleeve. Acquired in 2010.

2015 Guerssen (CD). Booklet with historical notes from Richard Allen as well as some nice photos. Acquired in 2015.

1993; 4/2/01 (review); 3/9/10 (update / new entry); 3/22/15; 10/5/16

Ricordi D'Infanzia ~ Italy

Io Uomo (1973)

While not the ideal place to start for any fan new to the Italian progressive rock scene, Ricordi D'Infanzia is a fine example of the middle-tier of the style. It's more song-oriented than the top tier hyper imaginative albums that one can overdose on quick. But if a dedicated fan, this is one you'll want to own eventually. Great vocals with fine organ, piano, and guitar work.

Ownership: 2004 Strange Days / Universal Japan (CD). Papersleeve. Acquired in 2005.

2005; 3/8/10 (review)

The Human Beast ~ UK ~ Scotland

Volume 1 (1970)

On the surface, it would seem The Human Beast's sole album to be typical of the era, given the guitar-bass-drums trio format. But these guys aren’t Cream plagiarists, nor did they go the Led Zeppelin, Ashkan, Elias Hulk psychedelic power variation of the blues. No, we’re moving towards the freaky, to the astral zone of Clear Blue Sky, but even beyond. The lyrical concept and overall acid feel gives the feeling that Vangelis may have stumbled onto the album before launching into 666 for his Aphrodite’s Child group. And yes, I’m sure Human Beast digested plenty of Saucerful of Secrets and Ummagumma before heading into the studio. One of the most creative of the UK power trios, no doubt.

Ownership: 

2007 Decca Japan (CD). Papersleeve. Acquired in 2007.

2008 Sunbeam (LP). Gatefold with historical liner notes. Acquired in 2016.

7/21/07; 3/7/10 (new entry); 9/14/23 

Horrific Child ~ France

L'étrange Monsieur Whinster (1976)

---9/4/07

Where would the music world be without Jean-Pierre Massiera? It certainly would be a more dull place without him, that's for sure. Everything he was involved with can only be described as obscure. And now he's the undisputed king of the 1970's Euro oddball rarities chase. And of all the albums he was involved with, Horrific Child remains his most sought after, and arguably most eccentric release ever. The musical realization of a Psychotronic B-Movie classic. If this were a movie, it would be on at 3:00 in the morning, on your cities' last remaining UHF local station. In short, L'Etrange Mr. Whinster defines J.P. Massiera's niche in life.

---3/6/10

Picked up the reissue LP and adding to UMR.

Ownership: 2009 Finders Keepers (LP). Insert with full set of liner notes.

9/4/07 (review); 3/6/10

3/6/10 (new entry)

THTX - Ultimately. 2004 USA-Michigan

THTX are a group (though primarily a vehicle for multi-instrumentalist Matthew Smith) from Detroit who play in the space rock bag. In general, despite the rather small duo lineup (+ guest on keyboards), they avoid the usual trappings that the noise-makers of today tend to fall into. So rather than an Acid Mothers Temple wank-fest, THTX provides novelty items like structure, dynamics, texture and atmosphere. Much of this is accomplished via non-traditional instruments such as acoustic guitar and trumpet. And, oh sure, there's the electric guitar all fuzzed out and wah-wah'd to ensure you get blown to oblivion. But the latter can only happen when the stage is set properly - something the majority of modern bands don't seem, or want to, understand. Ultimately is the second album by THTX and they succeed for the most part, but there are sections that can still become nauseating with the sonic overload.

'Application for Explosion of Time' is a bit much in places (non stop assault), but at less than 6 minutes, one can appreciate a sledgehammer opener. 'Voyage Into Space' is where THTX really shines. Acoustic guitar, haunting keyboards (from special guest Keir McDonald), slow burning fuzz guitar and pounding drums. It builds to a raga like intensity, recalling Ummagumma era Pink Floyd, or its many Krautrock imitators. Incredible! 'Supersonic Phoenix' has a killer groove with an infectious rhythm, but again the sonics can be a bit much towards the end and it's hard to appreciate the song textures underneath. THTX could have benefited from taking their foot off the gas for most of this. The title track wisely starts off with acoustic guitar, calming the proceedings down considerably. But it doesn't take long and the group is painting the walls with Moog swirls and guitar fuzz. Quite honestly it becomes annoying after awhile and it makes me recall the all-time wankers: Acid Mothers Temple. Finally, at around the 15 minute mark, the jam begins to take some shape and becomes listenable. It actually finishes quite strong, but it took too long to get there. A good dose of editing is usually required for bands like this, and I'd like to see THTX get the scissors out more.

Ownership: CD: 2004 Cosmo-Revolution Technologies

3/5/10 (new entry)

Ville Emard Blues Band - Ville Emard. 1975 Canada-Quebec

Fresh on the heels of the Kaczynski album, here's another ProgQuebec reissue. Ville Emard Blues Band was a very large ensemble that was yet another band built around the foundation of Contraction / Franck Dervieux.

The album itself is very diverse, and features anything from good time bar tunes to lengthy psychedelic jams. A fine album, that comes recommended.

CD: 2004 ProgQuebec w/Live à Montréal

CD is titled Complete VEBB au complet 1973-1975 

International Harvester ~ Sweden

Sov Gott Rose-Marie (1969)

On the Heldon Electronique Guerilla post, I spoke of the anarchic subversiveness to which that particular album portrays. When compared with International Harvester, Heldon comes across as a conservative Reaganite, preaching the virtues of capitalism. While left wing politics were typical in late 60s, early 70s European progressive rock, especially from France, Germany, Italy, and Sweden, International Harvester has to be one of the most overt of all of them. Typically playing in clubs sponsored by the Communist Youth League, International Harvester were laying their own brand of radical free rock. On the album you'll hear screaming chants of "Ho Chi Minh" which pretty much sums things up from a philosophical standpoint. But this is no politrock album (known as Progg in Sweden), of which I'm not usually a fan, but rather one of the first examples of primarily instrumental avant garde rock that one could buy on the market, along with early Can and Amon Duul (I and II). An important evolutionary work. International Harvest evolved from Parsson Sound, a group we all learned about in the late 1990s due to Subliminal Sounds' great archival release. The group evolved into Harvester and Träd, Gräs och Stenar, and some members found their way onto to perhaps the greatest avant garde rock album of all time: Älgarnas Trädgård's Framtiden Är Ett Svävande Skepp, Förankrat I Forntiden.

Ownership: 2001 Silence (CD). Acquired in 2001.

First copy: 1984 Silence (LP). Acquired in 1988.

1988; 1997; 2001; 3/3/10 (review / new entry)

The Bridge | Kristian Schultze Set ~ Germany

The Bridge - Overdrive / Kristian Schultze Set - Recreation (1972)

Recreation is the reissue title of Overdrive. The music is a fine set of gritty electric piano oriented jazz (...rock) with plenty of fuzzy and dirty sounds including distorted bass and keyboards. Nice use of flute as well, and the album features a plethora of well-written melodies. It would appear the album was originally oriented to television and film incidental music, though the tracks are more developed than that premise may imply. A year after this recording, Kristian Schultze joined Passport as their prime keyboardist for the next four albums or so.

Ownership: 2002 Crippled Dick Hot Wax! (CD). This reissue offers a new cover... a new band name... and a new album title. Apparently the bonus track on the CD came with the name Kristian Schultze Set and so the reissue label went with that, though the name recognition couldn't hurt. The package comes in a nice digipak with historical liner notes. Acquired in 2003.

2003; 2/28/10 (review / new entry); 2/2/16; 4/28/18; 9/28/26

Stray. 1970 England

My God! This has some of the most blistering guitar ever put down on vinyl. And he puts it through every effect one could find in 1970. Beyond intense. I rarely use the word underrated, as honestly how many people really rate this stuff? But dammit, if the tag don't fit here. A monster of an album. Derek Bromham plays some wicked lead here, and puts his six stringer through every effect he could get his hands on.

Over the years, this has become one of my all-time favorite albums. Not to be missed!

Ownership: LP: 1970 Transatlantic. Gatefold with stenciled die-cut sleeve. Online acquisition (2014). I had the first press with the purple label, but kept this one since it was in better shape.

CD: 2005 Arcangelo (Japan). Papersleeve edition that comes in the Saturday Morning Pictures promo box.

I have 2 copies of the LP, each with a different label (both scans as shown here). One was purchased online in 2011, the other 2014. The CD is a fantastic mini-LP creation of the die-cut. It's the same version as the Castle release, with fancier packaging. Purchased new online upon release, 

My first copy was the German Line CD (acquired 1997).

1997; 2/26/10 (new entry)

Thirsty Moon. 1972 Germany

Three plus years ago I wrote:

For me, quite possibly the reissue of the year (along with their second You'll Never Come Back). Long Hair surprised everyone with these reissues I think. Complete with unique liner notes from the band and an independent reviewer, bonus tracks (in this case a 5:42 minute number that's highly relevant to the release) and a high quality production... ...I've had this for many years on LP, and never tire of it. Thirsty Moon play a favored style of Krautrock for me: Jazzy, improvised, heavy, intense, creative. They sound like no one particular group, but elements of similar German acts like Brainstorm, Kollektiv, Embryo, Emergency, Xhol Caravan and Missing Link are apparent. Six piece band with added percussion, two keyboardists (one dedicated to electric piano) and a reeds player. The band gels on a number of fronts, especially in energy and passion - something that is rarely captured in a bottle like this. Conny Plank's engineering is all over this too (phasing, panning, gadgetry galore). And 21.5 minute 'Yellow Sunshine' is a classic for the ages - like Missus Beastly playing in the production of the Cosmic Jokers series of albums. Yes, this is in the Top 75 albums of all time for me. Maybe even Top 50.

Ownership: LP: 1972 Brain. Amazing gatefold cover of a moon spun tornado that holds up the sun and the fiery flames spell out Thirsty Moon. Online acquisition (2000). My first copy was the Rock-On Brain version known as Yellow Sunshine that was acquired via mail order (1991).

CD: 2006 Long Hair. Jewel case with liner notes, photos, and one solid bonus track.

1991; 2000; 12/18/06; 2/22/10 (new entry)

Elluffant ~ Netherlands

Release Concert (1972)

The always misspelled Elluffant (2 f's) had one album that is something very different, almost like an avant garde classical album gone awry. It appears it may have been some sort of science project, whereas the protagonist built his own pipe organ, and came up with this fuzzy sounding monstrosity that I'm sure Mike Ratledge would've enjoyed playing. With an added drummer, they just jam for two side long sessions. Radical and noisy, but ultimately a tad boring.

Pigshit (LP). Acquired in 1992. An obvious bootleg that I sold off years ago.

Still not on CD as of 10/4/26.

1992; 2/18/10 (review)

Captain Marryat ~ UK ~ Scotland

Captain Marryat (1974)

I was pleasantly surprised by the quality of this album, considering some of the hype surrounding its excessive value in original LP form. I really thought it would be average at best. But not so. It screams the era in which it was released. It's naive, it's honest, it's well played, and it's memorable. Nice melodies, and surprisingly strong vocals. Long sections are set aside for guitar (nice fuzz tone) and organ jams. And they are also very well executed. Very much a UK styled rock / progressive album from 1974.

This album was about as mythical as they come in collecting circles. For years, it was only whispered about and many decried its very existence. But then a couple of copies popped on ebay in early 2009, each securing well over $4,000 each and many collectors (including me) became curious what all the fuss was. Shortly thereafter, the excellent Shadoks label, a reissue company whose primary focus is that of the most obscure albums, came through with both an LP and CD reissue. The turnaround on this one - going from impossible-to-find-mega-rarity to CD reissue is about as fast it will ever happen. But it's a win-win for all progressive rock fans.

Ownership: 2009 Shadoks (CD). Booklet with liner notes and photos.

6/20/09 (review)

2/17/10 (new entry)