Brian Short - Anything For A Laugh

Brian Short (1948 – 2014) was an English singer who emerged as the frontman of Black Cat Bones. His solo album, Anything for a Laugh, appeared in 1971 on Transatlantic Records. The 12-song album features 11 originals, including “Blue Tuesday,” “Don’t You Need Me Anymore,” “Emily,” “Wishing Well” and “Winter Comes.” Also included is a cover of the Randy Newman composition “I Think It’s Going to Rain Today.” The album was produced by Mike Finesilver (Love Sculpture, Kingdom Come, Ross, Gonzalez, J.A.L.N. Band). He later wrote songs for Jeff Beck and Hummingbird.

listen here

Parish Hall - Parish Hall (1970

Parish Hall was a power trio from the California Bay Area. The band consisted of Gary Wagner (guitar, piano, vocals), John Haden (bass), and Steve Adams (drums). Specializing in a hard rock/blues rock sound, their album was originally released near the end of 1970 on a small local California record label. Reminiscent of the sound of another popular trio of the day, the Jimi Hendrix Experience, Parish Hall had begun to gain the recognition of some European collectors by the late 1990s, and originals have fetched high prices in collector's markets. All songs on this album are originals written by Wagner and hold up well when compared to other hard rock acts. The album has been reissued by Akarma with the original artwork and digitally remastered sound. AMG.

listen here

Aynsley Dunbar - Blue Whale 1970

Rock journeyman Aynsley Dunbar has proven himself one of the finest drummers in the business for over twenty years, whether as a member of several bands or as a session musician. Dunbar began his career on the British blues-rock scene, playing with Champion Jack Dupree and Eddie Boyd before becoming the drummer for John Mayall's Bluesbreakers in 1967; he was influenced by jazz and the Who's Keith Moon as well. During this time, Dunbar also played on Jeff Beck's seminal Truth sessions, and also met Frank Zappa in Belgium; when Zappa broke up the first edition of the Mothers of Invention, he invited Dunbar to join his new band. Dunbar first appeared with Zappa as a guitarist on Uncle Meat, but soon assumed drum chores in the Flo and Eddie version of the Mothers, appearing on such albums as Chunga's Revenge, Fillmore East: June 1971, and 200 Motels, and playing music that gave him a chance to show off his jazzier chops. In the meantime, Dunbar also formed a blues-rock band called the Aynsley Dunbar Retaliation, which featured guitarist/vocalist John Moorshead, bassist Alex Dmochowski, and organist Victor Brox. The group released several albums from 1969-1970, including a self-titled effort, Doctor Dunbar's Prescription, and To Mum From Aynsley and the Boys. When Flo and Eddie jumped ship in 1972 after a deranged fan pushed Zappa from the stage, confining him to a wheelchair, Dunbar joined their backing band for a short while, although he would also return to work with Zappa on studio projects like Waka/Jawaka, The Grand Wazoo, and Apostrophe', as well as continuing his periodic studio work for other artists. He briefly formed an association with David Bowie around 1973-74 for the albums Pin-Ups and Diamond Dogs, but in 1975, Dunbar decided to join a new jazz-rock fusion group called Journey. He remained with the band up through 1978's Infinity, departing as Journey brought in vocalist Steve Perry and shifted their sound towards arena-rock. Dunbar next joined Jefferson Starship in 1978, staying put through 1982's Winds of Change. He resurfaced several years later with Whitesnake and played drums on the band's 1987 commercial breakthrough. However, Dunbar was again gone by the next Whitesnake album; he has since returned to the blues rock he started his career with, working with such artists as Pat Travers. AMG.

listen here

Carson - Blown 1972

Carson was an Australian blues rock and boogie rock band, formed in January 1970 in Melbourne as Carson County Band. They had a top 30 hit single on the Go-Set National Top 40 with "Boogie" in September 1972. The group released their debut studio album, Blown, in November on EMI and Harvest Records, which peaked at No. 14 on the Go-Set Top 20 Albums. Their performance at the second Sunbury Pop Festival in late January 1973 was issued as a live album, On the Air, in April but the group had already disbanded.

Member, John Capek had left by mid 1970 and relocated to North America by 1973 where he worked as a composer (often with Marc Jordan), record producer, and keyboardist in Toronto, Canada, and Los Angeles, United States. After Carson disbanded, Broderick Smith formed the country rock band The Dingoes in 1973 and had a successful solo career.

listen here

Hate - Hate Kills 1970

Without a doubt, Hate (with their only LP) is one of the most underrated UK progressive bands from the early 70’s! This dark, sinister, and sometimes psychedelic music resembled a combination of early Procol Harum/Atomic Rooster-like Hammond organ sounds; tasty guitar leads, and emotional, Spooky Tooth-like vocals. The session was engineered by Tom Allom who 10 years later gained fame by producing albums for Judas Priest and Def Leppard. Carefully remastered Hate Kills LP is simply a lost, progressive gem!

listen here

Bronco - Ace of Sunlight 1971

Formed in August 1969 by Jess Roden following his split from The Alan Bown Set, Bronco was signed to Island Records and released two albums 'Country Home' and 'Ace of Sunlight'. Roden left the band mid 1972 to start a solo career, guitarist Robbie Blunt soon followed, the remaining members drafted in Paul Lockey on vocals (who both Kevyn Gammond and Pete Robinson knew from various incarnations of The Band of Joy) and Dan Fone on guitar, they released one last album this time with Polydor records 'Smoking Mixture'. Bronco's bass player John Pasternak died of a heart attack in September 1986. Led Zeppelin's Robert Plant fronted a tribute event for Pasternak in December of that year. Two Bronco tracks are featured on Island Records compilation albums: "Love" appears on Bumpers released in 1970 and "Sudden Street" appears on El Pea (1971).
More recently the Bronco track 'Time Slips Away' has been included on the Island Records compilation 'Meet On The Ledge', released as part of Island's 50th anniversary in 2009.

listen here

Greezy Wheels - Juz Loves Dem Ol' 1975

Greezy Wheels is an Austin, Texas-based progressive country band formed in the 1970s. They played more frequently at the Armadillo World Headquarters than any other band in the history of the venues. They are regarded as the Armadillo house band and are elected members of the Austin Music Hall Of Fame.

Greezy Wheels' music is a raucous blend of rock, funk, R&B, alt-country, and Ozarks. In their early days, they were the only band with a female fiddler, Sweet Mary Hattersley. Sweet Mary consistently brought the crowd to a screaming frenzy state with her version of the "Orange Blossom Special." The music of Greezy Wheels reflected the cultural dichotomy of Austin in the 1970s — a unique place where hippies had roots deep in the heart of Texas. Greezy Wheels opened Willie Nelson's first-ever Armadillo World Headquarters show, putting him in front of the hippies who then adopted him and have been his fans ever since. They have shared the stage with (literally) too many greats to name. 

listen here

Boz Scaggs - Boz Scaggs 1969

Departing from the Steve Miller Band after a two-album stint, Boz Scaggs found himself on his own but not without support. Rolling Stone publisher Jann Wenner, his friend, helped him sign with Atlantic Records and the label had him set up shop in Muscle Shoals, recording his debut album with that legendary set of studio musicians, known for their down-and-dirty backing work for Aretha Franklin and Wilson Pickett, among many other Southern soul legends. The Muscle Shoals rhythm section, occasionally augmented by guitarist Duane Allman, gives this music genuine grit, but this isn't necessarily a straight-up blue-eyed soul record, even if the opening "I'm Easy" and "I'll Be Long Gone" are certainly as deeply soulful as anything cut at Muscle Shoals. Even at this early stage Scaggs wasn't content to stay in one place, and he crafted a kind of Americana fantasia here, also dabbling in country and blues along with the soul and R&B that grounds this record. Suppose the country shuffle "Now You're Gone" sounds just slightly a shade bit too vaudeville for its own good. In that case, it only stands out because the rest of the record is pitch-perfect, from the Jimmie Rodgers cover "Waiting for a Train" and the folky "Look What I Got!" to the extended 11-minute blues workout "Loan Me a Dime," which functions as much as a showcase for a blazing Duane Allman as it does for Boz. But even with that show-stealing turn, and even with the Muscle Shoals musicians giving this album its muscle and part of its soul, this album is still thoroughly a showcase for Boz Scaggs' musical vision, which even at this stage is wide and deep. It would grow smoother and more assured over the years, but the slight bit of raggedness suits the funky, down-home performances and helps make this a great debut and an enduring blue-eyed soul masterpiece. AMG.

listen here

Gravy Train - Gravy Train 1970

Jethro Tull and Comus had a baby, and they named it Gravy Train. That's not strictly accurate, of course, but as the band's eponymous debut opens with the fluid changes of "The New One," it's not too far of a reach, either. Richly harmonic, daringly jam-laden, and peppered with guitar roars that simply defy comparison, Gravy Train is the sound of the British underground at its most joyously liberated peak -- a time when a bunch of apparent freaks could simply go into a major recording studio and let rip. Except Gravy Train's concept of "letting rip" has more in common with a symphony orchestra than the Edgar Broughton Band. Without, of course, the orchestra. But there's a moment in the midst of "Think of Life" that cannot help but put one in mind of later Deep Purple, as the flute and guitar battle for supremacy, while the blues workout "Coast Road" is as breathtaking as any of that genre's better-feted exponents. If Gravy Train has any faults whatsoever, the fascination with peculiar vocal effects can grow a little wearing, especially as frontman Norman Barrett already appears to have a fabulous range of his own -- "Dedication to Sid," in particular, glories in such trickery, although the heartbeat bassline that runs through the number is so hypnotic that it's easy to forget everything else that's going on. In fact, Gravy Train is littered with moments like that, an album of so many surprises that even when you think you know it, you can still find something else you'd never noticed. And it all adds up to a genuine minor classic. AMG.

listen here

Bold - Bold 1969

ABC released plenty of psychedelic LPs in the late '60s that were weird, awkward mixtures of West Coast psychedelia, heavy rock, blues, pop, and more, often burdened by subpar songwriting and performers who seemed ill at ease or inexperienced in the studios. The sole Bold album fits into that niche, but if it's any recommendation or consolation, as such records go, it's certainly one of the better ones. Actually it's not bad, and a little lighter and less ponderous than most such efforts, though the lack of outstanding original material or mega-personality limits its appeal to psychedelic collectors. In addition to the trendy psychedelic-age ingredients listed earlier, Bold also added some quasi-classical organ once in a while, particularly on the opening instrumental, "Lullaby Opus Four"; "Free Fogue" even sounds like new-age music. They're also good vocal harmonizers, which lends otherwise generic late-'60s psychedelic hard rockers like "Friendly Smile" a nice buoyancy. And a bent for folk-rock asserts itself once in a while, in the wistful "Changing Seasons," the Buffalo Springfield-flavored "Child of Love" and "Words Don't Make It," and the pretty nice, stretched-out cover of Bob Dylan's "It's All Over Now, Baby Blue." The entire album is included on the Misty Lane CD reissue Lullaby Opus Four, which also adds both sides of the two more garage-oriented singles they recorded prior to the album for Cameo and Dynovoice, as well as both sides of the mid-'60s single by the Esquires, the group that evolved into Bold. AMG.

listen here

Catapilla - Catapilla 1971

The debut album by one of the most dramatic and certainly the most visionary of all the British prog bands saddled with the epithet jazz-rock opens with little care for any of that. Taking a deep draught from the King Crimson/Van Der Graaf Generator book of sonic brutality, the opening "Naked Death" is a hard-riffing, thunderous clatter of apocalyptic imagery which -- if Crimson hadn't already dropped the same bomb with "21st Century Schizoid Man" -- might have proved as lethal as the weaponry it discusses. The same taste for Armageddon permeates the remainder of the album. Some spectacular moments drift through the carnage; Robert Calvert's sax and Graham Wilson's guitar might be most comfortable in full bludgeoning mode, but they can show restraint as well. Unfortunately, vocalist Anna Meek is allowed no such luxury, coming across in places like an extremely bad-tempered Sonja Kristina and in others like a dehumanized version of Lydia Lunch. But if the first three tracks, clocking in at 15, four, and six minutes, respectively, leave you feeling battered, bruised, and maybe not inclined to walk this way again, 24 minutes of the closing "Embryonic Fusion" place Catapilla firmly back on course. A solid, sax-driven suite, of course, it has its share of death, doom, and destruction-type lyrics and enough moments of spine-chilling chaos to remind you that Van Der Graaf's similarly side-long "A Plague of Lighthouse Keepers" was fresh on the racks as this album came together. Unfortunately, such comparisons -- though valid -- are also unhelpful. No matter how influenced one band might be by another, it takes a lot more than a Xerox mind to pull off a piece of music this long this successfully. The fact is, Catapilla not only completes the marathon, they also leave you wondering how 24 minutes passed so quickly. AMG.

listen here

Atomic Rooster - Atomic Rooster 1970

The incipient incarnation of Atomic Rooster -- with Vincent Crane (organ/vocals), Nick Graham (vocals/bass), and Carl Palmer (drums) -- was together just long enough to document its debut, Atomic Roooster (1970) -- (note: the extra O is intentional). Before the last-minute addition of Graham -- the only bassist Atomic Rooster ever had -- the band emerged from the remnants of the then recently defunct Crazy World of Arthur Brown. The material was primarily courtesy of Crane and consisted of heavier sides. His versatility is evident throughout the impressive array of styles ranging from the folk-inspired pastoral "Winter" to the bluesy horn arrangement heard on "Broken Wings." This directly contrasts driving rockers such as the album's edgy opener, "Friday 13th," or the aggressive "S.L.Y." "Decline and Fall" is a jazz-infused number boasting some exceptional if not incendiary instrumental interaction, most notably from Crane and Palmer. Lyrically, Crane reveals his penchant for dark imagery, including the fatalistic "What is the point of going on?" chorus that runs through the aforementioned "Winter" or the sexually snide "And So to Bed." Support was bolstered by strong live appearances, positive word-of-mouth, and a few significant BBC Radio sessions -- all of which resulted in Atomic Roooster making a respectable showing at number 49 on the U.K. LP charts. By the time the platter was picked up by Elektra Records in North America, the personnel had already changed with John Cann (guitar/vocals) replacing Graham. In an interesting move, they decided that Cann should also overdub guitar parts to "S.L.Y." and "Before Tomorrow," as well as provide a new vocal to "Friday 13th." The transformation didn't end there, either, as the original running order was also significantly altered. Parties interested in hearing both should locate the 2004 reissue, as the supplementary selections feature the U.S. version(s), plus a pair of uniformly excellent selections broadcast on BBC Radio -- "Friday 13th" and "Seven Lonely Streets" (aka "Seven Streets") from Atomic Rooster's follow-up LP, Death Walks Behind You (1970). Of further historical note is that the live-in-the-studio BBC recordings were documented less than a week before the departure of Palmer, effectively ending the first lineup. AMG.

listen here

Bonnie Koloc - Wild and Recluse 1978

Folk singer/songwriter Bonnie Koloc was a major presence in Chicago's songwriting scene during the 1970s, recording two albums for the major Epic label at the end of that decade. Born February 6, 1946, Koloc grew up on the outskirts of Waterloo, Iowa, in difficult circumstances. Her father made a meager living at a John Deere tractor factory, and her parents divorced when she was 12. "I wore a lot of hand-me-downs, and I thought that people who had indoor johns must be rich," she told The Chicago Tribune in 1988. But she loved singing from the age of three. At the University of Northern Iowa, she did poorly in classes because she was beginning to find club gigs, and she dropped out in 1968 to travel to Chicago and try to make her way in the city's burgeoning folk music scene. A fixture at the Earl of Old Town club, she rivaled John Prine and Steve Goodman in popularity in the early '70s. With a distinctive songwriting style shaped by jazz and blues inflections (the Ed Holstein composition "Jazzman" became one of her trademarks, and she also often appeared in his club, Holstein's), she was signed to the Ovation label and released the album After All This Time in 1971. Five more albums on Ovation followed, with enough success that Koloc was signed to Epic, issuing the Close-Up and Wild and Recluse albums in 1976 and 1978, respectively. She took time off to begin a second career as a visual artist in the early '80s but returned with the Flying Fish album With You on My Side in 1987. In 2010 she issued Beginnings, collecting live recordings of some of her early shows in Chicago and downstate Illinois. As of the late 2010s, Koloc was living in Iowa and teaching art but often returned for performances in Chicago, where she has maintained a strong fan base. An appreciation of her role in the city's folk scene has been impeded by a lack of CD reissues of much of her work and its absence from major online music services. AMG.

listen here

Bitter Blood Street Theatre - Vol. 1 (1978)

Bitter Blood Street Theatre was a performance art troupe-slash-acid rock band formed at Cincinnati's University in 1969 and active through the 1970s and disbanded by 1980. Their music was a swirling dervish of bong-hitting psychedelia with slashing hard rock guitars and a penchant for exotic instrumentation, including a few saw solos.

The band was colorful kooks in Kiss-style masks, draped in capes and/or dominatrix outfits, and the ‘street theatre’ bit involved exactly that: extras culled from the local freak scene who would perform on stage with the band, or in the audience, or out on the sidewalk in front of the club. Performances would range from a guy in a wheelchair calmly eating live locusts out of a cigar box, to flashers showing their private bits to whoever caught their eye. The band played with all the heavy hitters of the era and the area, from The MC5 to Alice Cooper (who, some believe, nicked a thing or two from Bitter’s stage performance), but never made any headway beyond Ohio’s borders. Anyway, they had the chance to open for such acts as the Allman Brothers, Joe Cocker, Mountain, Savoy Brown, MC5, Frigid Pink, and Dr. John. In 1975, the band was briefly part of the Columbia Records roster, but the exec who signed them was reportedly fired the same day, and the band was unceremoniously dropped.

They did manage to eke out one single in ’75, but the band broke up soon after, morphing into a still-active ‘fringe-rock’ outfit, Blacklight Braille. In the late 70s, BBST mainman Tom Owen was able to cobble together the band’s various demo tracks and release them as a two-volume anthology. Both are now considered minor masterpieces of 70s weird-psyche. Sadly, no vintage footage of the band has surfaced yet, so we are left to imagine what it might be like to catch these pioneering maniacs live.

listen here

Candido's Latin McGuffa's Dust - Brujerias de Candido 1971

Candido's first album for Tico is a pure triumph. Fortunately, there's only one crossover cover ("Shadow of Your Smile"), and once that's safely programmed out (or left in as a break), listeners are left with ten tracks of impossibly dense features for Candido, each of which proves how apt his "Thousand Finger Man" title was. The studio band is mid-size, punchy, and energetic enough to prove a foil for Candido's conga, but never overly focused on themselves. Nearly every song features plenty of solo space, and the man finds great things to say even on hoary old chestnuts like "Almendra" or "El Manicero" (aka "The Peanut Vendor"). The opener, "Here Comes Candi," and the side-one closer, "Take More Candi," are two of the most frenetic arrangements Candido's ever been a part of, and they're just two songs on a joyous, celebrative album. Vocalist Gran Alfonso joins the festivities for great features on "Negrito" and the calypso tribute "Back to Back." AMG.

listen here

Jacksons Garden - How Do I Get Into Jacksons Garden 1968

Danish soul-rock band originally from Fyn. The band was formed in 1967 and disbanded in 1969 after releasing a single LP. Live recordings from this era were released after the band reformed in 2000. Drummer Per Stan would become a producer with Danish Polydor in the '70s

listen here

Brother To Brother - In The Bottle 1974

St. Louis native Michael Burton formed Brother to Brother with studio musicians Billy Jones, Frankie Prescott, and Yogi Horton in the mid-'70s. They enjoyed success with a good cover of Gil Scott-Heron's "In the Bottle" in 1974, scoring a number nine R&B hit. It was the only one of their releases for Turbo that made any impact. AMG.

listen here

Alkatraz - Doing A Moonlight 1976

Alkatraz was based in Wales and was put together by bassist Will Youatt and guitarist Jimmy Davies. Will Youatt was formerly of Man and The Neutrons, whose album - The Neutrons - Tales From The Blue Cocoons also featured drummer Stuart Halliday. Jimmy Davies could previously be heard in the Welsh prog band Quicksand. Alkatraz split up while recording their follow-up album, during the onslaught of punk and new wave in Britain.

listen here

Captain Beefheart & The Magic Band - Lick My Decals Off, Baby 1970

Produced by Captain Beefheart himself, Lick My Decals Off, Baby was a further refining and exploration of the musical ideas posited on Trout Mask Replica. As such, the imaginative fervor of Trout Mask is toned down somewhat, but in its place is an increased self-assurance; the tone of Decals is also a bit darker, examining environmental issues in some songs rather than simply concentrating on surreal wordplay. Whatever the differences, the jagged, complex rhythms, and guitar interplay continue to amaze. Those wanting to dig deeper after the essential Trout Mask Replica are advised to begin doing so here. AMG.

listen here

Tomorrow's People - Open Soul 1976

Interesting album from a Soul funk disco group from Chicago, USA. Active in the mid-1970s. 

listen here

Horse - Horse 1971

Originally released in the UK on RCA Victor in 1970, Horse's self-titled debut record is a nice mix of '70s hard rock with psychedelia and progressive overtones. Some excellent guitar work by Rob Roach and powerful vocals by Adrian Hawkins set the pace of this solid LP. This is one of those treasures that kind of faded into oblivion. While very rare and pricey, pick it up if you can find it. AMG.

listen here

Ohio Players - Fire 1974

After greatly increasing their visibility with Skin Tight, the Ohio Players became even more visible with Fire -- an unpredictable masterpiece that boasted such explosive horn-driven funk jewels as "Smoke" and the wildly addictive title song. The Players were always best known for their hard-edged funk, but in fact, there was much more to their legacy. "I Want to Be Free," the almost innocent "Together," and the remorseful "It's All Over" demonstrate that their ballads and slower material could be first-rate soul treasures. The influence of gospel imagery and the black church experience had asserted itself on Skin Tight's "Is Anybody Gonna Be Saved," and does so once again on the intense "What the Hell" and the hit "Runnin' From the Devil." Without question, Fire was one of the Ohio Players' greatest triumphs -- both commercially and artistically. AMG.

listen here

Gram Parsons - Grievous Angel 1973

Gram Parsons fondness for drugs and high living is said to have been catching up with him while he was recording Grievous Angel, and sadly he wouldn't live long enough to see it reach record stores, dying from a drug overdose in the fall of 1973. This album is a less ambitious and unified set than his solo debut, but that's to say that G.P. was a great album while Grievous Angel was instead a very, very good one. Much of the same band that played on his solo debut was brought back for this set, and they perform with the same effortless grace and authority (especially guitarist James Burton and fiddler Byron Berline). If Parsons was slowing down a bit as a songwriter, he still had plenty of gems on hand from more productive days, such as "Brass Buttons" and "Hickory Wind (which wasn't really recorded live in Northern Quebec; that's just Gram and the band ripping it up live in the studio, with a handful of friends whooping it up to create honky-tonk atmosphere). He also proved to be a shrewd judge of other folk's material as always; Tom T. Hall's "I Can't Dance" is a strong barroom rocker, and everyone seems to be having a great time on The Louvin Brothers's "Cash on the Barrelhead." As a vocal duo, Parsons and Emmylou Harris only improved on this set, turning in a version of "Love Hurts" so quietly impassioned and delicately beautiful that it's enough to make you forget Roy Orbison ever recorded it. And while he didn't plan on it, Parsons could hardly have picked a better closing gesture than "In My Hour of Darkness." Grievous Angel may not have been the finest work of his career, but one would be hard-pressed to name an artist who made an album this strong only a few weeks before their death -- or at any time of their life, for that matter. AMG.

listen here

Grateful Dead - From The Mars Hotel 1974

The Grateful Dead made their reputation on the road with their live shows, and they always struggled to capture that magic in the studio. The Mars Hotel, while not a classic, represents one of their better studio albums. Jerry Garcia sounds engaged throughout and takes the vocal reigns for most of the songs on the album -- although he's not the most gifted vocalist, he proves himself able and versatile. He sings the rollicking opener, "U.S. Blues," with a tongue-in-cheek seriousness that gives the political song an edge, and he lends emotional sincerity to the atmospheric ballad "China Doll." Garcia shines on guitar during the funk workout "Scarlet Begonias," but the ensemble work is best displayed on the album's centerpiece, "Unbroken Chain." During this song, all the musicians are allowed to shine: Phil Lesh, the bassist and songwriter, provides tender vocals over a piano-based arrangement while the bridge allows the guitars and drums to stretch out in classic Grateful Dead style. This album is highly recommended for fans, but casual listeners should start with American Beauty or Workingman's Dead. AMG.

listen here

Neil Young - On The Beach 1974

Following the 1973 Time Fades Away tour, Neil Young wrote and recorded an Irish wake of a record called Tonight's the Night and went on the road drunkenly playing its songs to uncomprehending listeners and hostile reviewers. Reprise rejected the record, and Young went right back and made On the Beach, which shares some of the ragged style of its two predecessors. But where Time was embattled and Tonight mournful, On the Beach was savage and, ultimately, triumphant. "I'm a vampire, babe," Young sang, and he proceeded to take bites out of various subjects: threatening the lives of the stars who lived in L.A.'s Laurel Canyon ("Revolution Blues"); answering back to Lynyrd Skynyrd, whose "Sweet Home Alabama" had taken him to task for his criticisms of the South in "Southern Man" and "Alabama" ("Walk On"); and rejecting the critics ("Ambulance Blues"). But the barbs were mixed with humor and even affection, as Young seemed to be emerging from the grief and self-abuse that had plagued him for two years. But the album was so spare and under-produced, its lyrics so harrowing, that it was easy to miss Young's conclusion: he was saying goodbye to despair, not being overwhelmed by it. AMG.

listen here

Quicksilver Messenger Service - Shady Grove 1969

The third long-player from San Francisco psychedelic icons Quicksilver Messenger Service (QMS) is a direct contrast from their previous discs. Shady Grove (1969) is comprised mostly of shorter and self-contained pieces as opposed to the long and extended jams that were so prevalent on their self-titled debut (1967) and Happy Trails (1969). Ironically, the one stretched-out instrumental is courtesy of their latest acquisition -- Brit recording session guru Nicky Hopkins (keyboards). Another possible reason for the shift in style as well as personnel is the conspicuous absence of Gary Duncan (guitar) -- who is rumored to have been a "guest" of Bay Area law enforcement at the time. The band incorporate a number of different styles on the album. Kicking off the disc is an up-tempo rocking version of the traditional Appalachian folk song "Shady Grove." The QMS reading is highlighted by John Cipollina's trademark fluid fretwork and a familiar "Bo Diddley" backbeat -- reminiscent of both "Who Do You Love" and "Mona" from the live ensemble LP Happy Trails. The slow and dark "Flute Song" is a trippy minor chord masterpiece that is augmented by the shimmering effect of Hopkins' airy piano lines which mingle throughout the light orchestration. Additionally, QMS try their hand at the same country & western-flavored sound that was making the rounds with their San Fran contemporaries the Jefferson Airplane ("The Farm") and the Grateful Dead ("Dire Wolf"). However, the down-home cowboy waltz "Word's Can't Say" never gets out of the stable, unfortunately. This somewhat uneven effort would sadly foreshadow QMS's journey from psychedelia and into a much more pop-oriented sound on their follow-up, Just for Love (1970). However, enthusiasts of those albums will find much more to revisit on Shady Grove than those who favored the first two records. AMG.

listen here

The Paul Butterfield Blues Band - The Resurrection Of Pigboy Crabshaw 1967

The 1968 edition of the Paul Butterfield Blues Band featured a larger ensemble with a horn section, allowing for a jazzier feeling while retaining its Chicago blues core. They also adopted the psychedelic flower power stance of the era, as evidenced by a few selections, the rather oblique title, and the stunning pastiche artwork on the cover. Butterfield himself was really coming into his own playing harmonica and singing, while his band of keyboardist Mark Naftalin, guitarist Elvin Bishop, drummer Phil Wilson, electric bassist Bugsy Maugh, and the horns featuring young alto saxophonist David Sanborn was as cohesive a unit as you'd find in this period. Butterfield's most well-known song "One More Heartache" kicks off the album, a definitive blues-rock radio favorite with great harmonica and an infectious beat urged on by the top-notch horns. The band covered "Born Under a Bad Sign" at a time when Cream also did it. "Driftin' & Driftin'" is another well-known tune, and at over nine minutes stretches out with the horns cryin' and sighin', including a definitive solo from Sanborn over the choruses. There's the Otis Rush tune "Double Trouble," and "Drivin' Wheel" penned by Roosevelt Sykes; Butterfield wrote two tunes, including "Run Out of Time" and the somewhat psychedelic "Tollin' Bells," where Bishop's guitar and Naftalin's slow, ringing, resonant keyboard evokes a haunting feeling. This is likely the single best Butterfield album of this period and you'd be well served to pick this one up. AMG.

listen here