Hell Preachers Inc. - Supreme Psychedelic Underground 1968

Hell Preachers Inc.'s sole album, Supreme Psychedelic Underground, was released in 1968 and is the subject of a famous rumor among music fans that it was a “secret Deep Purple project.” Formed as a one-off project by session musicians from Hamburg, Germany, the band is characterized by an experimental sound that bridges psychedelic rock and hard rock. 

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Mike Bloomfield & Al Kooper - Live Adventures of Mike Bloomfield & Al Kooper 1968

One of the seminal live albums of the late '60s, Live Adventures of Al Kooper & Mike Bloomfield was a natural, organic offshoot of the hugely successful Super Session album from 1968, which contained performances by both of these groundbreaking musicians, as well as Stephen Stills. The idea of musical spontaneity both in live performance and in the recording studio had reached a certain apex in 1968, and spontaneous excursions by musicians such as Jimi Hendrix, Steve Winwood, and the Southern California musical covenant that eventually became Crosby, Stills, Nash & Young, as well as a host of others, were indeed a sign of the times. But it was the union of Bloomfield and Kooper that can truly claim an origination of the phenomenon, and this album takes it to another level entirely. Utilizing a fine and tight rhythm section of John Kahn and Skip Prokop, the two musicians duel and embrace each other on such cuts as the accurately named "Her Holy Modal Highness" and a great, revamped rock/soul re-working of Paul Simon's "Feelin' Groovy," which is buttressed by a guest studio vocal overdub by the author himself. The album's high point may be Bloomfield's rendering of Albert King's epic "Don't Throw Your Love on Me So Strong," which may indeed also be one of his finest career recordings. Like the Super Session album, history repeated itself, as Bloomfield's chronic insomnia caught up with him by the morning of the second night of the two-night gig, rendering him unavailable. Kooper enlisted the help of Steve Miller and a practically unknown Carlos Santana (himself a Bloomfield devotee) for several tracks, particularly a loose and free version of "Dear Mr. Fantasy," which sort of embodies the whole affair and era. Undoubtedly a necessity from the period, the record has been remastered for CD, and the results are truly glorious, and do this legendary album justice. AMG.

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Zalman Yanovsky - Alive And Well In Argentina 1968

After parting ways with the Lovin' Spoonful in 1967, co-founder Zalman Yanovsky -- better known to fans and friends simply as "Zally" -- surfaced the following year on his lone solo long-player Alive and Well in Argentina (1968). The effort returned the artist back to the early rock as well as country & western roots that had inspired him. Plus, he was able to modernize, if not counter the weepy and introspective direction the Spoonful was continually drifting toward as John Sebastian scored the easier listening "Darling Be Home Soon" and "Younger Generation." Bearing his trademark sense of humor -- and help from none other than Jerry Yester -- his replacement in the Spoonful -- and former bandmate Joe Butler (drums), the platter has the feel of a Lovin' Spoonful side project. The opening rave-up "Raven in a Cage" is preceded by a surreal composite of farmyard audio effects and "Oh, Canada!" -- the Canadian National Anthem. The song's heavier execution instantly recalls the Spoonful's "There She Is" and "4 Eyes" with just a hint of Yanovsky's jug band roots and overtones. With electric guitars wailing, the lethargic and definitely sardonic update of one-hit wonder Joe Jones' 1960 "You Talk Too Much" is Yanovsky at his irreverent best. Yet he manages to turn it into a commendable performance before the bottom literally falls out of the groove. Continuing with the trip down memory lane are impressive interpretations of the Floyd Cramer instrumental "Last Date" as well as the Bobby Day-penned "Little Bitty Pretty One" -- a hit for Thurston Harris in 1957. Yanovsky's impassioned and slightly out of tune vocal plea inoculates it with a shot of soul, while the thoroughly echoplexed chorus has a gritty lo-fi feel. The banjo-fralin' title track "Alive and Well in Argentina" adopts a rural flavor and melody comparable to Dave Dudley's 18-wheeler ode "Six Days on the Road." The lyrics demonstrate the artist's tweaked funny bone, not to mention a not-so-subtle reply to the question that Spoonful fans and reporters were asking in the wake of Zally's departure. The 1971 reissue of the LP on Kama Sutra added the single "As Long as You're Here" -- which was written by the team of Garry Bonner and Alan Gordon who are perhaps best-known for the Turtles' hits "Happy Together," "She's My Girl," and "Cat in the Window." In due time they would also provide the Joe Butler-led incarnation of the Lovin' Spoonful "('Till I) Run with You" and "Amazing Air" on their Revelation Revolution '69 collection. Equaling if not surpassing the earlier covers are Yanovsky's raw reading of George Jones' divorce ode "Brown to Blue" and a honky tonkin' take of Ivory Joe Hunter's "I Almost Lost My Mind." The upbeat poppish spin of John Sebastian's "Priscilla Millionaira" comes on the heels of the Lovin' Spoonful's version from Everything Playing. An attempt at full-blown (or, perhaps more accurately overblown) psychedelia is heard on the pseudo-heavy "Hip Toad." It stands in contrast to the overt mixture of trippy electric guitars and orchestrated jamming titled "Lt. Schtinkckhausen" -- ultimately sounding more like Frank Zappa than the Spoonful. The colorful jacket artwork collage is credited to Peter Max, while the dimestore novel-esque liner notes are courtesy of Carl Gottlieb -- a writer for the Smothers Brothers TV Show among numerous other credits. AMG.

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Water - The Second Day 1975

Dutch rock band active from 1974 to 1977. Band from The Hague including organist Ron Westerbeek (also in Sandy Coast) and harmonica player John Lagrand (also in Livin' Blues). One-off in musical as The Rocky Horror Band. 

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Paul Brett's Sage - Paul Brett´s Sage 1970

Tying together many of the musical threads of their day, Paul Brett Sage was a progressive band in the best sense of the word, with an adventurous sound that was accessible to all, though they never lost sight of their origins. The group grew out of the folk duo of guitarist/singer Paul Brett and percussionist Bob Voice, and their eponymous debut album sees Paul Brett Sage retain a folksy bend, which reaches grand agit-folk heights on "Trophies of War." Elsewhere, Brett's fiery licks and solos, particularly on the anthemic "3D Mona Lisa," paints rock right across the backwoods vista. Evocative flamenco-tinged guitar sizzles around "The Sun Died," while Brett's aggressive performance on both 12-string and electric guitar creates a "Warlock" worthy of the modern age. With the band's prominent use of percussion, Nicky Higginbottom's haunting flute, their strong melodies, and infectious choruses, Paul Brett Sage hovers between folk, rock, world, and pop; an album that deftly manages to be all things to all people. AMG.

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Herbie Hancock - Flood 1975

Herbie Hancock and the Headhunters take to the road in the live double album Flood, recorded and released only in Japan. Contrary to the impression left by his American releases at this time, Hancock was still very much attached to the acoustic piano, as his erudite opening workout on "Maiden Voyage/Actual Proof" with his funk rhythm section makes clear. The electric keyboards, mostly Rhodes piano and clavinet, make their first appearances on side two, where Hancock now becomes more of a funky adjunct to the rhythm section, bumping along with a superb feeling for the groove while Bennie Maupin takes the high road above on a panoply of winds. Except for "Voyage," the tunes come from the Head Hunters, Thrust, and Man-Child albums (another reason why this was not released in the U.S.). "Chameleon" comes with a lengthy outbreak of machine pink noise that attests to Hancock's wide-eyed love of gadgetry. In all, this was a great funk band, not all that danceable because of the rapid complexities of Mike Clark's drumming, and quite often, full of harmonic depth and adventure. AMG.

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Clouds - Scrapbook 1968

Clouds were a progressive rock group from Edinburgh, Scotland who never found true commercial success despite rave reviews for their records and concerts. Not to be confused with The Clouds (2) (1980s indie rock band from Glasgow, Scotland).
In their earlier incarnation as '1-2-3', Edinburgh's Clouds had a now-legendary residency at the Marquee club in early 1967, directly influencing many important bands such as Yes, The Nice, and King Crimson. They were managed by Brian Epstein and Nems, but this association ended shortly after Epstein’s death, and the band was signed by Terry Ellis to the fledgling Chrysalis empire. But the success of Jethro Tull took the focus away from Clouds, and despite successful European and American tours, and numerous recordings with Island records, the band failed to capture the imagination of the record-buying public, and disbanded in Oct 1971. As years passed, however, it was the band's earlier incarnation as 1-2-3 that became the subject of a critical reappraisal. With accolades from the likes of David Bowie and others, the band's distinctive guitar-less, organ-driven sound is now viewed as a definitive precursor to the progressive rock movement. 

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Ted Nugent - Ted Nugent 1975

After disintegrating the Amboy Dukes in the early '70s, Ted Nugent finally decided to strike out on his own as a solo star. Even without a recording contract, Nugent toured constantly, built up a fervent following, and created a smoking hard rock quartet with the help of singer/guitarist Derek St. Holmes, bassist Rob Grange, and drummer Cliff Davies. The band's first release, 1975's Ted Nugent, is a prime slice of testosterone-heavy, raging, unapologetic rock & roll, and along with the band's 1977 release Cat Scratch Fever, it is Nugent's best solo studio album. While the grinding opening track, "Stranglehold," stretches beyond eight minutes and contains several extended, fiery-hot guitar leads, it does not come off as your typical '70s overindulgent fare -- every single note counts, as Nugent wails away as if his life depended on it. Other Nuge classics include "Motor City Madhouse," plus the St. Holmes-sung "Hey Baby" and "Just What the Doctor Ordered," all eventually becoming arena staples and making the band one of the late-'70s top concert draws. Additional highlights are the unexpected breezy jazz ballad "You Make Me Feel Right at Home," plus the untamed rockers "Stormtroopin'" and "Queen of the Forest." Nugent himself hails Ted Nugent as his best work, and with good reason. It's an essential hard rock classic. As with Nugent's other 1999 reissues, an insightful essay on this Nugent era by journalist Gary Graff is included, plus bonus tracks. AMG.

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Doc Holliday - Doc Holliday 1973

Singer/guitarist Frank Carillo was the band's driving force. Carillo had previously been a member of the band Hot Soup which recorded an obscure single and album in the mid-'60s before calling it quits. Carillo's next job was as a member of Peter Frampton's post-Humble Pie recording and touring band (he played in "Winds of Change" and "Frampton's Camel").  With support from manager Phil Loritoe he then decided to form his own band, recruiting the talents of bassist Thomas Arlotta, drummer Robert Liggio, and singer/guitarist Robert Mayo.  Signed by the small Metromedia label, the band's debut album teamed them with Rolling Stones producer Chris Kimsey. Metromedia apparently had high hopes for the band, shipping them to London to record 1973's "Doc Holliday" at the famed Olympic Sound Studios. With Carillo and Frank Paul Spagnuolo credited with writing most of the eight tracks (bassist Arlotta wrote 'Come Down Sally'), the album wasn't particularly original, reflecting a wide array of outside influences including FM rockers like Humble Pie, boogie bar band (Faces), more pop oriented groups (Badfinger), and even a touch of glam. In this case the lack of originality was a major criticism. Among other gifts, the band was blessed with a pair of strong lead singers. Carillo was the gruffer of the two, which made him wonderful on tracks like the opener 'Fix Me' and the single 'Whiskey Lady'. In contrast Mayo's voice was a bit more commercial which was great for tracks like the ballad 'Captain Cooke'. As mentioned, musically they were all over the place including a stab at country-rock ('Restless Days') , but for these guys it wasn't a major drawback since there wasn't a single truly awful performance on the LP. Hard to put my finger on it, but "Doc Holliday" is an album with a distinctive British rock feel and it's an album far better than the individual compositions (which are themselves quite good).RYM.

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British quintet, Fable, are perhaps better known for their connections to Trapeze and Uriah Heep than they are for their own music. The Wolverhampton band came together in 1973, with Peter Goalby at the helm handling vocals and guitar. The lineup also included Mac Bailey (guitar), Peter Mackie (bass), Paul Robbins (keyboards) and Keith Tully (drums). Their history is a bit blurry, but the band had a very short lifespan. Magnet Records (owned by Alvin Stardust) picked up the band after hearing demos they'd been working on and in 1974, "Fable" was issued. The response was tepid at best and after a few short mini-tours of the UK, Fable disbanded. Goalby and Mackie would later resurface in a late period lineup of Trapeze. By 1980, Goalby had joined Uriah Heep and remained with them for several years and albums. 
 

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Wally Richardson - Soul Guru 1968

Richardson was mostly known in the 50s and early 60s for some sweet swing sessions with Pete Brown for Bethlehem and Verve. So when Soul Guru came out in 1968 (engineered by Van Gelder!) in all of its groovy psychedelic glory it was something of a revelation. Deep soul, some blues jamming, some odd instrumentation (bass clarinet?) on a few tracks, and even a radio friendly “Monday Monday” that veers toward kitsch but never goes all the way. An absolute joy and highly recommended! Discogs - dharleyserlin

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Maffit And Davies - The Rise And Fall Of Honesty 1968

Maffitt/Davies was a short lived duo who released one album off Capitol in 1968. Judging by the cover you’d expect psychedelic fireworks but The Rise and Fall of Honesty is really an Ameriana folk-rock record. This is another good one that never saw release in the cd era. I found a vinyl copy in the Boston area for only $15 dollars though lately this lp has been somewhat hard to come by. While labelmate lps by the Common People and Food attract more attention I think that Maffitt/Davies was a much, much better group.
The record starts off with a brilliant version of Bob Dylan’s Just Like A Woman. Maffitt/Davies transform this standard into a heartbreaking orchestrated folk track that must surely rank as one of the best versions of this song.
Forest Lawn, the album’s failed single, has a distinct Face to Face Kink’s sound though it’s notable for its dobro and freaky church organ. Tom Thumb’s Blues is the other Dylan cover on this record and shows the band taking a Byrds/Everly Brothers vocal harmony approach. The playing is topnotch throughout the record (check out instrumental Lungi Dal Caro Beni) and the duo’s vocal harmonies are tight if a bit unconventional. This is a quiet, tranquil record that never bores and reminds me of prime late 60’s Dillards on their folk-rock outings.
One of my favorite tracks on the album is Landscape Grown Cold. This is a visionary slice of American music that predates the alt. country/folk boom with dark lyrics, strings, phasing towards the end, and a vibe similar to Texas band Euphoria. More noteworthy tracks are Kingswood Manor which is a good folk-rock track that flirts with psychedelia by way of tabla (and drug references within the lyrics) while country-rocker City Sidewalks is very trancey and will appeal to any true Byrds fan. About 3 or 4 tracks on the album include drums though electric guitar fans should note with caution that most of this disc is acoustic.
The music is time worn, ancient and has that lived in feel but always inventive and never short on ideas. What ever happened to these musicians? Does anyone know? Anyway, if Americana or folk-rock is your bag, prepare yourself for a really good one. The Rising Storm.

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The Korgis - The Korgis 1979

British pop outfit the Korgis reunited singer/bassist James Warren and singer/drummer Andy Davis, who previously teamed in cult favorites Stackridge. Guitarist Stuart Gordon and keyboardist Phil Harrison completed the original lineup, which issued its debut single "Young 'n' Russian" in March of 1979; the follow-up, "If I Had You," cracked the UK Top 20, and that summer the Korgis issued their self-titled debut LP. In 1980, the group scored their biggest chart smash with "Everybody's Got to Learn Sometime," the lead single from their sophomore album Dumb Waiters; although the record also launched the minor hit "If It's Alright with You Baby," subsequent outings like "Rovers Return," "That Was My Big Mistake" and "All the Love in the World" failed to generate much excitement, and in the wake of their third album, 1981's Sticky George, the Korgis were dropped by their label Rialto. The band soon dissolved, and in 1986 Warren issued a solo LP, Burning Questions; four years later, he and Davis reformed the Korgis to issue a re-recorded "Everybody's Got to Learn Sometime," followed in 1992 by a new album, This World's for Everyone. The group again parted ways soon after. AMG.

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Wayne Shorter - Speak No Evil 1966

On his third date for Blue Note within a year, Wayne Shorter changed the bands that played on both Night Dreamer and Juju and came up with not only another winner, but also managed to give critics and jazz fans a different look at him as a saxophonist. Because of his previous associations with McCoy Tyner, Elvin Jones, and Reggie Workman on those recordings, Shorter had been unfairly branded with the "just-another-Coltrane-disciple" tag, despite his highly original and unusual compositions. Here, with only Jones remaining and his bandmates from the Miles Davis Quintet, Herbie Hancock and Ron Carter on board (with Freddie Hubbard filling out the horn section), Shorter at last came into his own and caused a major reappraisal of his earlier work. The odd harmonic frameworks used to erect "Fee-Fi-Fo-Fum," with its balladic structure augmented with a bluesy regimen of hard bop and open-toned modalism, create the illusion of a much larger band managing all that timbral space. Likewise on the title track, with its post-bop-oriented melodic line strewn across a wide chromatic palette of minors and Hancock's piano pushing through a contrapuntal set of semi-quavers, the avant-garde meets the hard bop of the '50s head on and everybody wins. The loping lyric of the horns and Hancock's vamping in the middle section during Shorter's solo reveals a broad sense of humor in the saxophonist's linguistics and a deep, more regimented sense of time and thematic coloration. The set ends with the beautiful "Wild Flower," a lilting ballad with angular accents by Hancock who takes the lyric and inverts it, finding a chromatic counterpoint that segues into the front line instead of playing in opposition. The swing is gentle but pronounced and full of Shorter's singular lyricism as a saxophonist as well as a composer. AMG.

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Little Johnny & Ted Taylor - The Super Taylors 1973

Now here'a a relic from Little Johnny Taylor's prolific early '70s Ronn tenure that also features soul-blues singer Ted Taylor. Although they weren't related (except by label), the "Super Taylors" shared this album like long-lost brothers. Four duets find the two complementing one another most soulfully; otherwise, the album is comprised of solo sides by both (including Johnny Taylor's "Everybody Knows About My Good Thing"). AMG.

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