Review: Bronco Bullfrog's 'The Sidelong Glances of a Pigeon Kicker' Vinyl Reissue

By the time they made their third album in 2002, Leicester's freakbeaters Bronco Bullfrog had relocated to London where they had access to a number of pro-studios, but they were a little light on material. So Andy Morten broke his monopoly a bit to allow bandmates Louis Wiggett and Mike Poulson to get more involved in the songwriting. The results were somewhat mixed. Although the album was very consistent with the group's deliberately retro vibe, that retro-ness was wearing thin for the band's leader, who felt that too many of the songs were derivative. When you hear how the Beatlesque "Barnaby Slade" and "I'm Not Getting Through" both recycled offbeat "Taxman" guitar accents and "Last Chance to Smile" begins with a "Pictures of Lily" descending chord figure before finishing with a substitute "Substitute" lick, you'll agree he has a point. 

But originality didn't seem to be a major concern of Bronco Bullfrog in general, and these are some of the best songs on The Sidelong Glances of a Pigeon Kicker (and as far as I'm concerned, they all blow away anything I've ever heard by Oasis). Actually, the record is weakest when Bronco Bullfrog lapse into ballad mode. Poulson makes a faint impression with his one solo contribution, "Tea and Sympathy", which suffers from a tired tune and lazy love rhymes.  Morten's "Witch's Garbage" and "Honeybus" are certainly more lyrically imaginative, but they're as melodically nebulous and harmonically bland as Poulson's song. Bronco Bullfrog are definitely at their best when their spirits are highest, and if you can skate over the ballads and view the derivativeness as more boon than bane, there are some terrific numbers on Sidelong, particularly the first two tracks. 

On the heels of their vinyl reissue of Bronco Bullfrog's debut, Guerssen Records is now doing the same for The Sidelong Glances of a Pigeon Kicker. In keeping with the label's usual quality control, the vinyl is flat and quiet and beautifully packaged.  Also in keeping with their penchant for somewhat lo-fi recordings (look, Toe Rag studio was a step up from wherever Bronco Bullfrog made their first records, but it was no Abbey Road), things get a bit harsh in the high-end and there's some sibilance here and there. The disc still sounds nice and organic and very warm, which is most complimentary to the band's authentic psych vibe that found them playing with backwards tapes, tube tremolo effects, and "bona fide tape phasing," as Molten boasts in the liner notes. I know I'd boast too if I had access to that kind of equipment.