Ten Years After - Texas International Pop Festival 1969

A storming blues and boogie band from the U.K., Ten Years After rocketed from modest success to worldwide fame in the wake of their performance at the Woodstock Rock Festival in 1969, where their nine-minute rendition of "I'm Going Home" showed off the lightning-fast guitar work and howling vocals of Alvin Lee, the unrelenting stomp of bassist Leo Lyons and drummer Ric Lee, and the soulful support of keyboard man Chick Churchill. While the group was also capable of moody pop and acoustic-based material (as heard on 1971's A Space in Time, whose single "I'd Like to Change the World" was their greatest American hit), it was the group's raw blues-based music that remained their trademark, powered by Lee's high-speed guitar figures. While their original run would end in 1974, Ten Years After would reunite in the '80s, and they continue to record and tour more than 50 years after they started out. Here is an excellent performance at the Texas International Pop Festival, two weeks after Woodstock. AMG.

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Colosseum II - Wardance 1977

Wardance shows many of the attributes associated to symphonic rock, from a surrealistic record cover and detailed information about what amplifiers and cymbals the band uses, to song titles like "Star Maiden/Mysterioso/Quasar." But even though Colosseum II had much in common with symphonic rock, they were more of a jazz-rock or fusion band. While none of the musicians are anything even close to restrictive in their playing, Moore's solo guitar is what many of the songs are built around. His distinctive way of playing, while still in development, is clearly heard, as are similarities to his first solo album, Grinding Stone, especially in the album's only vocal song, "Castles." This was the second album released by Colosseum II in 1977, and their third in two years. The differences between the albums are not too big, but a slight lack of inspiration can be perceived here. While the songs are still technically impressive and hold an interesting mix of jazz, hard rock, and classical elements, the band often fails in making the distorted riffs meaningful, leaving an impression that the main merit of the songs is that they are extremely hard to play. The title track and "Major Keys" are exceptions, though, building on slightly simpler licks, which are developed throughout the song, instead of being lost in the Spanish-style drumming that Hiseman is so fond of. But a big fan of symphonic rock may think differently. AMG.
 

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The Pretty Things - Silk Torpedo 1974

Silk Torpedo provides an interesting glance into the glam era. Beginning with "Dream" -- a ghostly instrumental prelude that the group's friends in Led Zeppelin would later cop for "In the Evening" -- this album launches into "Joey," a superb combination of piano boogie, crashing drums, and melodramatic choruses draped in Hammond organ. Phil May's vocals on this piece run somewhere between Ian Hunter and Steve Tyler, and are every bit as effective. "Maybe You Tried" is a glittering slice of glam rock, all pouting and hip-thrusting, with a simply killer guitar hook from Pete Tolson. From this strong start, though, the album falters into a torpid sort of introspection. Still, "Belfast Cowboys" deserves kudos for taking on the Irish question long before U2 was taking its first music lessons. The CD reissue adds live versions of "Singapore Silk Torpedo" and "Dream/Joey," both recorded in 1974. AMG.

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Mandrill - Mandrill 1970

Mandrill's debut isn't half the album it could've been, since the band's talented musicianship and desire to experiment were often subverted -- by ambitions of pop success as well as a dry, over-serious approach to music-making. The three Wilson brothers, though masters of over a dozen instruments, still hadn't mastered the added burden of songwriting; "Warning Blues" is perfunctory (as is the vocal performance) and "Symphonic Revolution" is a bland summer-day soul song with cloying strings. The group sounds much more confident getting into a good groove and allowing room for some great playing; the band's self-titled song, "Mandrill," is the best here, featuring great solos for flute and vibraphone. Mandrill also loved playing with different musical forms: "Rollin' On" moves from an average rock song to a torrid Latin jam and climaxes with a testifying gospel session. Most ambitious of all is the five-part, 14-minute suite "Peace and Love," but the intriguing concept is negated by a few bizarre pieces, one of which sounds like a parody of a Vincent Price reading over a Santana jam. The band would soon learn that experimentation and stylistic change-ups were a means, not an end. AMG.

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Dead Sea Fruit - Dead Sea Fruit 1967

Combining the deadpan wit of the Bonzo Dog Band and the social-conscious lyricism of the Kinks, Dead Sea Fruit helped to bring the British Invasion of the 1960s to France. Formed in 1966, the group spent three years based in Paris thrilling French audiences with their hook-laden songs. Although all but two members relocated to Dakar, Senegal, electric bassist/guitarist/vocalist Arthur Marsh, who had replaced founding member Christopher Hall in early 1967, returned to England after three months when club owners demanded that they stick to cover tunes. Dead Sea Fruit reached their apex in 1967, when their tongue-in-cheek single, "Lulu, Put Another Record On," reached the top position on the British music charts. Their self-titled album was released the same year. AMG.

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Smoke - Carry On Your Idea 1969

Smoke was a Psychedelic Blues / Biker Boogie band. Previously known as The Nomads who were a garage psychedelic rock band from Houston, Texas. In mid-1968, the group moved to San Francisco, California, and signed with Uni Records. 

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Pluto - Pluto 1971

Pluto was an English rock band originally from London - active during the early '70s. In November 1971 they released their only, eponymously titled album, with hard rock heavily influenced by the blues and tinged with progressive rock. In 2020 a second album with unreleased material was released.

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Bear - Greetings, Children of Paradise 1968

Though a formidable lineup of talent came together for Bear's sole album, it had neither a consistent style nor compelling material. Another one-shot late-'60s psychedelic band, Autosalvage, might serve as a point of comparison, as two members of that group (Skip Boone and Darius Davenport) play on Greetings, Children of Paradise. Bear's record, though, is even more diffuse than Autosalvage's in its dodges between various circa-1968 underground rock styles, made even more erratic by some aspects which seem to aim for a bit of pop appeal. There's a little of the Lovin' Spoonful's good-time rock from time to time, but more often it's an uneasy mesh of free-floating American hippie rock with some Beatlesque harmonies and melodies. Sometimes there are jazzy beats and arrangements; at other times there are moderately heavy psychedelic guitar solos; at others, their basic folk-blues roots poke through (as on "Hungry Dogs of New Mexico"). The songs are kind of shapeless, and the melodies are on the undistinguished side, however. AMG.

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Thomas Jefferson Kaye - First Grade 1974

Thomas Jefferson Kaye steps out of his usual spot in the producer's chair for his second record, 1974's First Grade, handing the reins over to Gary Katz (Steely Dan). Together, Kaye and Katz create what appears at first to be a fairly typical bit of M.O.R., L.A. rock -- caught somewhere between tepid country-rock, Southern boogie, and the pointed sophistication of Steely Dan (he covers a couple of Becker and Fagen and rarities). The record kicks off with the brief, overtly autobiographical "Northern California" (it actually begins, "My name is Thomas Jefferson Kaye, I was born in North Dakota"), which on its own has a certain sweet poignancy, but paired with the lightweight "Easy Kind of Feeling" which follows, sets you up for a California yawn-fest. A nice treatment of Dr. John's funky "Sho-bout to Drive Me Mad" picks things up a bit before Kaye makes a pleasant, yet unexpected turn with two terrific covers to close Side One. Loudon Wainwright's sly and aching "Say That You Love Me," and the disillusionment of Becker and Fagen's "American Lovers" are both delivered with the same intelligence you would expect of their respective authors, yet are as palatable as anything the Eagles or Todd Rundgren may have turned out in the early part of the decade. The second side opens with "Jones," another previously unreleased Becker and Fagen and gem, and closes with a trio of self-penned tunes. Of the three originals, the soulful boogie of "L.A.," with it's sardonic refrain of "everything's gonna be all right" sung by Dusty Springfield, Clydie King, and Shirley Matthews, and the dark resignation of "All Cried Out" work just fine, but the limp rocker, "One Man Band" is a disappointing closer. First Grade may start a little slowly and stumble to the finish line, but there's plenty of substance in the middle to make it worthwhile. Becker and Fagen, and former Poco bandmates Richie Furay and Timothy B. Schmit, and guitarist Rick Derringer are among the guests.  AMG.
 

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Spirit Of John Morgan - Age Machine 1970

 

Keyboard player and vocalist John Morgan was a Graham Bond afficianado who turned toward psychedelia as the 1960's wore on. Billed originally as The Spirit of John Morgan, the band was successful enough to get booked into the Marquee and other top clubs, and cut three albums. Their self-titled debut into 1969 was followed by two more LPs in 1970 and 1972 (credited simply to John Morgan) for the Carnaby label. He also cut a single for British RCA in the early 1970's. AMG.

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Abbey Lincoln - Straight Ahead 1961

Straight Ahead is one of Abbey Lincoln's greatest recordings. It is a testament to the credibility of her very honest music (and her talents) that Lincoln's sidemen on this date include the immortal tenor saxophonist Coleman Hawkins (who takes a memorable solo on "Blue Monk"), Eric Dolphy on flute and alto, trumpeter Booker Little (whose melancholy tone is very important in the ensembles), pianist Mal Waldron, and drummer Max Roach. High points include "When Malindy Sings," "Blue Monk," Billie Holiday's "Left Alone," and "African Lady." AMG.

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Graham Nash - Wild Tales 1973

Graham Nash's second solo effort has been overshadowed by his harmonic heroics as a senior partner in the various Crosby, Stills, Nash & Young configurations. After being lured from the Hollies -- where his latter contributions were criminally unappreciated (see, or rather hear Dear Eloise/King Midas in Reverse) -- it was Nash who had come up with most of the CSN(Y) hit singles, including "Marrakesh Express," "Our House," and "Teach Your Children." His 1971 debut, Songs for Beginners, was likewise filled with inspired moments such as "I Used to Be a King," "Chicago/We Can Change the World," and "Sleep Song." Topping those efforts would have been superhuman. Such is how Wild Tales has been eclipsed and overlooked by enthusiasts of his previous endeavors. Nash gathered a core aggregate of musicians, many of whom were loosely connected to the CSNY family. These include: Johnny Barbata (drums), Tim Drummond (bass), David Lindley (guitar), Ben Keith (pedal steel guitar/dobro), and, of course, David Crosby (vocals). Also making guest shots were Dave Mason (12-string guitar), Joe Yankee (aka Neil Young) (acoustic piano), and Joni Mitchell (vocals). Together, they animate Nash's slice-of-life compositions. Musically, Nash retains much of the whimsy that drew folks to his earlier songs. Likewise, the subject matter ranges from political ("Oh Camil" and "Prison Song") to the emotionally naked "Another Sleep Song" and "I Miss You." Nash would bring several of these tunes back to the CSNY fold for their 1974 tour -- including the up-tempo rocking title track, as well as the folkie "Prison Song." It would be another seven years after Wild Tales before Nash would issue his next solo album, Earth & Sky -- which fared as poorly at its predecessor. AMG.

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Dire Straits - Communique 1979

Rushed out less than nine months after the surprise success of Dire Straits' self-titled debut album, the group's sophomore effort, Communiqué, seemed little more than a carbon copy of its predecessor with less compelling material. Mark Knopfler and co. had established a sound (derived largely from J.J. Cale) of laid-back shuffles and intricate, bluesy guitar playing, and Communiqué provided more examples of it. But there was no track as focused as "Sultans of Swing," even if "Lady Writer" (a lesser singles chart entry on both sides of the Atlantic) nearly duplicated its sound. As a result, Communiqué sold immediately to Dire Straits' established audience, but no more, and it did not fare as well critically as its predecessor or its follow-up. AMG.

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Syd Barrett - Barrett 1970

On his second solo album, Barrett was joined by Humble Pie drummer Jerry Shirley and Pink Floyd members Rick Wright (organ) and Dave Gilmour (guitar). Gilmour and Wright acted as producers as well. Instrumentally, the result is a bit fuller and smoother than the first album, although it's since been revealed that Gilmour and Wright embellished these songs as best they could without much involvement from Barrett, who was often unable or unwilling to perfect his performance. The songs, however, are just as fractured as on his debut, if not more so. "Baby Lemonade," "Gigolo Aunt," and the nursery rhyming "Effervescing Elephant" rank among his peppiest and best-loved tunes. Elsewhere, the tone is darker and more meandering. It was regarded as something of a charming but unfocused throwaway at the time of its release, but Barrett's singularly whimsical and unsettling vision holds up well. AMG.

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Eric Mercury - Electric Black Man 1969

Singer Eric Mercury began performing when he was hardly old enough to attend public school. His family worked together as a musical group, appearing at local functions at churches, schools, and such. After he got older, Mercury moved on from his family band to a few rock and R&B groups that let him try some new styles, and come into his own rhythm. In the late '60s, he began performing solo, recording a debut album in 1969. A few more full-length offerings followed during the '70s, before he moved on to work as a producer, songwriter, and to appear in at least one musical.

Eric Mercury was born and raised in Toronto, Canada. He entered this world as a member of a skilled musical family. That gave him the chance to polish his natural talents of singing and performing at an age when most children are happy simply mastering the alphabet and double-digit numbers. Just before the '60s rolled in, Mercury went out on his own, joining groups like the Pharaohs before moving up from member to frontman with Eric Mercury and the Soul Searchers. In 1968, Mercury made two substantial changes in his life. First, he left Toronto behind for Chicago in the United States. Second, he left the safety of a group and went solo. A short year later, he was working under the Avco Embassy label, which released his solo debut album, Electric Black Man. During the next decade, he recorded three more albums, Funky Sound Nurtured in the Fertile Soil of Memphis, Love Is Taking Over, and a self-titled offering. Eric Mercury was released in 1975 and was the last solo recording he made.

In the '80s, Mercury began working more behind the scenes in the music world, both in Canada and the United States. Besides serving as a producer, he also wrote both songs and jingles. "It's Time for Me to Love," "Listen with Your Eyes," "You Bring Me to My Knees," "Long Way Down," and "Everybody's Got the Right to Love" were among his best and best-known tunes. He also was the voice behind Nike's successful "Be Like Mike" television advertising campaign. Eric Mercury died in Toronto on March 14, 2022, from pancreatic cancer; he was 77 years old. AMG.

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