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)

T.N.T.H. ~ France

Let's Go Children of the Country (1971)

T.N.T.H. were a band from France who released this one memorable LP, resurfaced a few years later with a single, and then disappeared without notice. Given the moniker, one would presume it to be an acronym of some sort. What it stands for is anyone's guess, as it would appear to be a closely guarded secret. It doesn't seem to come from the members names. Perhaps it's a play on the word "tenth", with a grammatically incorrect acronym to support. Does it matter?

So what do we have here with the 1971 release Let's Go Children of the Country? A cross of Chicago styled horn rock and a type of instrumental funk. It's the latter that opens up the album, the two part 'Hippopotamus' has an infectious groove that just won't quit. If you're not dancing your brains out on this one, or at least imagining such a thing - then time to check the ole pulse to see if you're still here. The closer, the namesake T.N.T.H., is the perfect horn rock instrumental, with jamming rhythm guitar and killer horn solos. The highlight track for me anyway. As for the other songs, they too are excellent, more song based (with occasional vocals) than the bookends. A great album as far as I'm concerned.

Ownership: 1971 Barclay (LP)

No legit reissues as of 3/24/25.

12/25/19 (review / new entry)

Granada ~ Spain

Valle del Pas (1978)

Valle del Pas is Granada's 3rd and last album. It is also one of the most important records in my entire collection. Like many obscure European progressive rock albums, I found this new in a record store in early 1988. It was, as it turns out, the very first album I ever owned from Spain. An unlikely choice, Granada is not really a band that represents Spain in the more traditional sense like a Triana or Medina Azahara would be. Even the name is confusing to outsiders. Granada being most known as the last great city of the Moorish Empire. Given its place in history, it would seem Granada would indeed be quite representative of the Spanish sound. Ah, but Spain is a very diverse country. The first good clue is the album cover itself. Men in heavy coats in a lush dark green field, one playing the bagpipes. What one would associate with the Celtic regions of Espana like Asturias, Cantabria, or Galicia. And... Granada is also the name of a fruit, that which translates to a pomegranate. There you have it.

The album itself is brilliant, but subtlety so. Each track is packed with many ideas but the changes aren't jarring in the Italian tradition. The sound is what I often refer to as "European Warm Progressive", a type of music we hear in late 70s Spain and France in particular. It's definitely progressive rock, but at its most charming and wholesome. There is a Celtic component here, but not overwhelmingly so, the most obvious tracks being 'El Himmo del Sapo' and closer 'Ya Llueve'. There's even some classical references on 'Calle Betis (Atardeciendo)'. Overall, Valle del Pas is highly melodic but sophisticated, and even after some 32 years of familiarity, I never tire of hearing it. One of my 5 star masterpieces for certain.

Ownership: 

1978 Movieplay (LP). Gatefold. Acquired in 1988.

2006 Fonomusic (CD). Digipak.

1//88 (first listen); 12/20/19 (review)

Also own and need to review: Hablo de Una Tierra; Espana, Ano 75

12/20/19 (new entry)

Lloyd McNeill - Elegia. 1980 USA-Washington D.C.

This is the last of the 6 album run that Lloyd McNeill started with Asha in 1969. He did not change with the times. Despite being from 1980, it sounds every bit like a jazz record from the 1960s. Few, if any, could put the spirit in spiritual jazz like McNeill. In many cases the term is just a euphemism for free blow. Not with McNeill. All his pieces are highly composed and often times have a groove that just won't quit. One doesn't have to go any further than the opener 'Samba for the Animals' to underscore that latter point. McNeill also recreates his initial signature piece with 'Asha II', one of the most beautiful flute driven jazz pieces one can ever hear. Closer 'Memory Cycle' is another composition in this style of spiritual jazz. The one diversion here is 'Elegiac Suite for Elizabeth', an incredibly powerful track dedicated to the passing of his 80 year old mom Elizabeth B. McNeill. Here, McNeill and his mostly Brazilian backing band are joined by soprano singer Susan Osborn. It's not an easy listen, rather an intense portrayal. It's hard to imagine any album that was as out of time as Elegia was in 1980. This would be the end of the line for McNeill on the release front (for all intents and purposes), but he continued on with all of his artistic pursuits.

Ownership: CD: 2019 Soul Jazz. The CD is superb though the booklet is largely a retelling of Soul Jazz's prior reissues of McNeill's incredibly rich life with a brief summary at the beginning about Elegia. There are no bonus tracks.

12/19/19 (entry)

The Moving Sidewalks - The Complete Collection. 1967-1968 USA-Texas

The Moving Sidewalks were the Houston, Texas based psych band that gained fame later as the breeding ground for Billy Gibbons, he of ZZ Top fame. What becomes evident rather quickly is the influence of a one Jimi Hendrix, during the Experience years of course. There are photos of Hendrix and Gibbons together, and the former was known to have praised the latter's guitar work. It must have been quite the ego boost to be surrounded with such great company at an early age.

Flash would be their only album before ultimately disbanding and Gibbons forming ZZ Top. The music is a cross of high energy psychedelic with that of the blues, the latter being more the influence of Gibbon's next career. The album starts off incredible strong, but does wheeze out at the end with the somewhat traditional and lengthy 'Joe Blues', and the wacky and seemingly drug induced 'Eclipse' / 'Reclipse' segment.

Their singles were an indication of where the band was headed, and all are worthy as well. For example  'I Want to Hold Your Hand' is probably the last track from the Beatles' canon I would pick for a psych cover, but my goodness, did they absolutely destroy this track in effects - almost beyond recognition. Best version ever - at least that I've heard!

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The Moving Sidewalks were the Houston based psych band that gained fame later as the breeding ground for a one Billy Gibbons, he of ZZ Top fame. 'I Want to Hold Your Hand' is probably the last track from the Beatles' canon I would pick for a psych cover, but my goodness, did they absolutely destroy this track in effects - almost beyond recognition. Best version ever - at least that I've heard!

'Joe's Blues' is a solid electric blues number, with excellent guitar and organ. And yes, the guitar here can be quite psychedelic sounding. It's the full 7+ minute version, so far beyond the usual single length. And yea sure, they do have the blues real bad. They got 'em. Yeaaa they do.

An incongruous single, but very good all the same.

CD: 2012 Rockbeat (The Complete Collection)

The CD (and 2LP) reissue is superb and collects everything The Moving Sidewalks - and precursor group The Coachmen - ever did. This includes alternate takes on both singles and album tunes. There are many great archival photos, and excellent discography information. What's strangely missing is an accompanying essay and/or historical notes. It's kind of baffling really. All the same, if the American late 1960s psych experience interests you, this collection is a can't miss acquisition.

Starcastle - Citadel. 1977 USA-Illinois

"OK Starcastle, enough is enough, time to produce a hit record!" So the good guys from Illinois roll back into the studio - ah but now we're going to invest heavily and ensure you stay on track: You're going to London to record with a big time producer! That'll do the trick. And what did Starcastle manage to come up with? A prog album! Oh for crying out loud, says the record company.

It's definitely more of a sincere attempt at AOR friendly music than prior. And in this case there's less Yes, and far more fellow regional Midwest superstars Styx into the mix this time. The obvious pandering for hits such as 'Can't Think Twice' and 'Could This Be Love' are pathetic and demonstrate what happens when you record something that just isn't you. But the rest isn't that far removed from Fountains of Light or the debut. Even in short compositional form, Starcastle puts in plenty of thought provoking ideas. Because that's who they are. While Citadel is the 3rd best of a three album run, it's still quite excellent and closes the book on one of America's best - and most derided - progressive rock bands.

After this, Starcastle finally gave in and produced for the record company a real pop rock album. All their fans left, sales plummeted, and Starcastle were no more. That's a lesson in life for all: NEVER give in to the masses. They don't care about you, so don't care about them. Do what you do, and if they appreciate, consider it a blessing and stay true to your integrity.

Ownership: 

2009 Rock Candy (CD). Booklet with full historical essay, interviews with the band, and great sound. Still no bonus tracks though. Acquired in 2019.

1977 Epic (LP). Picture disc. Definitely for show, that's for sure. I mean honestly, if Epic were really serious about Starcastle being a commercial rock act, they really should have gone with different artwork. It screams prog. And 42 years later, thank goodness they did what they did. But at the time, who knows what they were thinking. Acquired in 2021.

First copy: 1998 Renaissance (CD). Acquired in 2005.

4//05; 10/13/14; 5/15/16; 12/14/19 (review)

July. 1968 England

July's sole album is so quintessentially psychedelic England, they should have considered using the Union Jack as the album cover. Seamlessly mixing pop and psychedelic, with those distinct accented and treated vocals, there's just no other time and place it could have come from. Barrett-era Pink Floyd comes to mind almost immediately. Though the real guidepost here could be the more obscure Pussy Plays, though July falls short of the intensity and rigor of arguably England best 60s album. There are many other references of course, from brand names like The Beatles and The Moody Blues to a host of lesser known groups. The songwriting here is top notch, with memorable tunes long after the music stopped, as well as superb period instrumentation. July are best known as the precursor to none other than Jade Warrior, and one can hear the creativity rising even at this early stage. One wonders had the band veered in the same direction as Pink Floyd, what treasures could have been left behind. Though Jade Warrior is certainly a great door prize.

Ownership: CD: 2005 Air Mail (Japan). The Air Mail CD replicates the mighty fine single sleeve psychedelic cover. According to the insert, the album was remastered for this release alone. It also comes with the 'Hello Who's There' 45 single as a bonus. The A namesake side is rather trite and is everything that is not on the LP (fortunately). The B side is an extended and freakier version of 'The Way' thus placing this 45 on many a want list as well.