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). Acquired in 1988.

1988; 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. Mine is numbered though it's suspiciously the same as another numbered copy. Which puts the total in question. Covers are hand sprayed. Acquired in 2010.

6/6/10 (review); 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)

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). Acquired in 1995.

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. Acquired in 2009.

First acquired the Mushroom CD in 1994.

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

8/5/14 (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)

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. Acquired in 1997.

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

Kozmic Muffin - Space Between Grief and Comfort. 1997 Spain

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

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

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

1/23/20 (new entry)

The Mandrake Memorial - Puzzle. 1969 USA-Pennsylvania

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

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

7/5/14

The Mandrake Memorial - Medium. 1968 USA-Pennsylvania

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

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

7/4/14

The Mandrake Memorial. 1968 USA-Pennsylvania

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

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

7/3/14

Nicholas Greenwood - Cold Cuts. 1972 England

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

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

Abstract Truth ~ South Africa

Silver Trees + Totum (1970)

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

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

Ownership: 2005 Fresh Music (CD). Booklet with extensive liner notes. In order to fit both albums on one CD, Fresh left off 'Jersey Thursday' and 'Ain't Necessarily So / Take Five'. At 52 minutes, the Totum original was quite lengthy for its time. Acquired in 2006.

1997; 2006; 8/21/18; 1/18/20 (review / new entry)

Mosaic - Ultimatum. 1978 France

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

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

Lethe ~ Netherlands

Lethe (1981)

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

Ownership: 1981 M.M.P. (LP). Acquired in 1997.

Not reissued as of 10/16/26.

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

Ungava ~ Canada ~ Quebec

Ungava (1977)

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

Ownership: 1977 36 Records (LP). 

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

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

Yves et Alain Lorentz ~ France

Espaces 2 (1980)

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

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

No reissues as of 3/25/25.

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

Ablution ~ Sweden

Ablution (1974)

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

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

Ownership: 1974 CBS (LP). Acquired in 2020.

No reissues exist as of 8/11/26.

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

Cry Freedom ~ Germany

Volcano (1976)

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

Ownership: 1976 private (LP)

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

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

Bambibanda e Melodie. 1974 Italy

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

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

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

Maajun - Vivre la Mort du Vieux Monde. 1971 France

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

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

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