Johnny Almond Music Machine - Hollywood Blues 1970

b. 20 July 1946, Enfield, Middlesex, England. This accomplished saxophonist and flautist rose to prominence during the mid-60s as a member of London R&B group Tony Knight’s Chessmen. In 1965 he replaced Clive Burrows in Zoot Money’s Big Roll Band and two years later joined the successful Alan Price Set. This group became known as the Paul Williams Set following the original leader’s departure and the same unit also formed the basis for a 1969 venture, Johnny Almond’s Music Machine. Williams (vocals), Jimmy Crawford (guitar), Geoff Condon (trumpet), John Wiggins (keyboards), Roger Sutton (bass) and Alan White (drums) were featured on Patent Pending, a propulsive set drawing inspiration from both jazz and blues, but Almond subsequently disbanded the line-up, and a second album, Hollywood Blues, was completed with the aid of American musicians.

A session musician on albums by Fleetwood Mac (Mr. Wonderful) and John Mayall (Bluesbreakers With Eric Clapton), the saxophonist joined the latter in 1969 in a pioneering ‘drummer-less’ unit captured on The Turning Point and Empty Rooms. Here Almond forged a partnership with guitarist Jon Mark, which resulted in the formation of a breakaway act, Mark-Almond in 1971. This imaginative ensemble completed a series of albums during the 70s and continued their partnership into the 80s. AMG.

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Dusty Springfield - The Look of Love 1967

A true mixed bag, from the sensual title track to the melodramatic "If You Go Away," and some fine soul stylings in between, most notably "Small Town Girl" (check out the choruses) and "I've Got a Good Thing." This is the last of Springfield's Philips albums to be released in America (she signed with Atlantic in the U.S. soon after, and the label declined to release most of her Philips' output here). AMG. listen here

Stan Getz & Charlie Byrd - Jazz Samba 1962

"One of the very best Bossa Nova Jazz albums, Jazz Samba marked the beginning of the Bossa Nova wave in the United States and, more generally, in the West. This wave reached its peak in the mid-1960s. Presented as a collaboration between guitarist Charlie Byrd and saxophonist Stan Getz, it was heavily inspired, conceived, and produced by Charlie Byrd alone. Legend has it that Stan Getz and his ego stole the show by following up with the album Getz Gilberto, released in 1963. The great strength of Jazz Samba is its homogeneity, although, in my opinion, it is dominated by the superb version of Antônio Carlos Jobim's "Desafinado." There is only one composition by Charlie Byrd on Jazz Samba: "Samba Dees Days." The other tracks are Samba or Bossa Nova standards such as "Samba Triste" by Baden Powell and Billy Blanco or "Samba de Uma Nota So" by Antônio Carlos Jobim. Jazz Samba is a lovely album that succeeds in creating a rather relaxed atmosphere. It bridges the gap between pure Brazilian Bossa Nova and mainstream American Jazz. Unfortunately for him and for us, Charlie Byrd would never again produce an album of such quality." D.D. AMG

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Plus - Plus 1972

Belgian jazz/soul rock group that evolved from The J.J. Band after recruiting Leslie Kent. They recorded one album under this name. 

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Roy Ayers - Coffy (OST) 1973

A blaxploitation masterpiece on par with Curtis Mayfield's Superfly and Isaac Hayes' Shaft, Roy Ayers' soundtrack for the 1973 Pam Grier vehicle Coffy remains one of the most intriguing and evocative film scores of its era or any other. Ayers' signature vibes create atmospheres and textures quite distinct from your average blaxploitation effort, embracing both heavy, tripped-out funk ("Brawling Broads") and vividly nuanced soul-jazz ("Aragon"). The vocal numbers are no less impressive, in particular the rapturous opening cut, "Coffy Is the Color." Richly cinematic grooves, as inventive and cohesive as any of Ayers' vintage Ubiquity LPs. Highly recommended. AMG.

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Raul Seixas - Gita 1974

Second solo release by Raul Seixas, an important figure of Brazilian rock. Acid critic of establishment, he pardodies several figures of Brazilian showbiz in the rocking "Super-Heróis." "Medo da Chuva" is a tender ballad talking about not being afraid anymore. "As Aventuras de Raul Seixas Na Cidade de Thor" is built in the form of a Northeastern "desafio" (cutting contest), where he delivers his ecological, social, and economical concerns. "Água Viva" brings another delicate moment about a certain lost well. "Moleque Maravilhoso," in big band swing style, is again an ironic and irreverent tune, and the tone is extended to "Sessão das 10," a cynical self-descriptive bolero where he tells how it was to come from Bahia to Rio. The rocking "Sociedade Alternativa" is serious though: the Alternative Society was a movement that John Lennon and Yoko Ono took part in and which intended to build the foundation of a freer and healthier society. The lyrical "O Trem Das 7" is one of the songs that has remained extremely popular through the years. "S.O.S." talks about flying sauces, but underneath his self-ironic calling for the "guy of the flying sauce" one can perceive a true devotion. Social criticism is found in "Loteria de Babilônia," and the ballad "Gitâ," one of his biggest hits, closes the album. AMG.

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Peter Frampton - Wind Of Change 1972

Peter Frampton's solo debut after leaving Humble Pie (as they stood on the brink of stardom) spotlights Frampton's well-crafted, though lyrically lightweight, songwriting and his fine guitar playing. The songs on Wind of Change are built primarily around acoustic guitar foundations, but "It's a Plain Shame" and "All I Want to Be (Is by Your Side)" sound like they could have been lifted off Humble Pie's Rock On. The sound is crisp, the melodies catchy, and Frampton's distinctive, elliptical Gibson Les Paul guitar leads soar throughout. A comparison between this album and Humble Pie's post-Frampton turn to generic boogie-rock shows why Frampton left that group. Although Humble Pie's Smokin' was much more successful, hitting the Top Ten in the spring of 1972, Wind of Change was far superior musically. With its mix of ballads and upbeat numbers with just enough of a rock edge, Wind of Change showed Frampton at his creative peak. The band here includes Ringo Starr, Billy Preston, and Klaus Voorman. AMG.

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Yes - Fragile 1971

Fragile was Yes' breakthrough album, propelling them in a matter of weeks from a cult act to an international phenomenon; not coincidentally, it also marked the point where all of the elements of the music (and more) that would define their success for more than a decade fell into place fully formed. The science-fiction and fantasy elements that had driven the more successful songs on their preceding record, The Yes Album, were pushed much harder here, and not just in the music but in the packaging of the album: the Roger Dean-designed cover was itself a fascinating creation that seemed to relate to the music and drew the purchaser's attention in a manner that few records since the heyday of the psychedelic era could match. Having thrown original keyboard player Tony Kaye overboard early in the sessions -- principally over his refusal to accept the need for the Moog synthesizer in lieu of his preferred Hammond organ -- the band welcomed Rick Wakeman into its ranks. His use of the Moog, among other instruments, coupled with an overall bolder and more aggressive style of playing, opened the way for a harder, hotter sound by the group as a whole; bassist Chris Squire sounds like he's got his amp turned up to "12," and Steve Howe's electric guitars are not far behind, although the group also displayed subtlety where it was needed. The opening minute of "Roundabout," the album opener -- and the basis for the edited single that would reach number 13 on the Billboard charts and get the group onto AM radio in a way that most other prog rock outfits could only look upon with envy -- was dominated by Howe's acoustic guitar and Bill Bruford's drums, and only in the middle section did the band show some of what they could do with serious amperage. Elsewhere on the record, as on "South Side of the Sky," they would sound as though they were ready to leave the ground (and the planet), between the volume and intensity of their playing. "Long Distance Runaround," which also served as the B-side of the single, was probably the most accessible track here apart from "Roundabout," but they were both ambitious enough to carry most listeners on to the heavier sides at the core of this long-player. The solo tracks by the members were actually a necessity: they needed to get Fragile out in a hurry to cover the cost of the keyboards that Wakeman had added to the group's sonic arsenal. But they ended up being more than filler. Each member, in effect, took a "bow" in mostly fairly serious settings, and Squire's "The Fish" and Howe's "Mood for a Day" pointed directly to future, more substantial projects as well as taking on a life of their own on-stage. If not exactly their peak, Fragile was as perfect a record as the group would ever make, and just as flawless in its timing as its content. AMG.

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Orleans - Orleans II 1974

The right record deal can easily make or break a band; just ask the members of Orleans, who, in the 1970s, were well aware of the difference between a supportive and unsupportive label. The unsupportive label was ABC, which never really believed in Orleans and ended up dropping the band after two albums (Orleans in 1973 and II in 1974). The supportive label was Elektra/Asylum, which gave Orleans a lot more promotion than it had received at ABC; as a result, "Dance With Me" made Orleans a big name in soft rock in 1975. But "Dance With Me" was around before the band moved to Elektra/Asylum; in fact, it is among the songs on Orleans' second ABC album, II. Although ABC didn't think much of this 1974 release, it isn't a bad album. Some of the material is mediocre, but some of it is impressive -- and the record's best tracks demonstrate that ABC made a big mistake by giving Orleans the boot. Those tracks range from "Wake Up" (which addresses environmental concerns) to the anthemic "Let There Be Music" and the charming "Dance with Me." Commercially, this LP bombed -- that's what happens when a record company doesn't believe in an album and does little or nothing to promote it. But, thankfully, two of its best songs got a new lease on life at Elektra/Asylum. In 1975, "Let There Be Music" became the title track of Orleans' third album, and "Dance With Me" became the hit single that it deserved to be -- not just one of nine tracks on an underexposed LP that was plagued by inadequate promotion. Although uneven and imperfect, II deserved much more support than it got from ABC. AMG.

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Stanley Turrentine - That's Where It's At 1962

A Blue Note release with Les McCann on piano, Herbie Lewis on bass, and Otis Finch on drums. Small group format. Excellent (and exciting) soul-jazz session with Turrentine blowing hot. AMG.

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Graham Central Station - Release Yourself 1974

After a tentative but promising 1973 debut album, Graham Central Station returned the next year with a head-spinning blend of R&B styles that realized their promise in a truly impressive fashion. Release Yourself touches on everything from gospel music to psychedelia, as the band puts forth an impressive set of songs that strike an effective balance between accessibility and complexity. This time, keyboards carry a new level of importance: songs like "G.C.S." and "I Believe in You" flow forth on elaborate keyboard riffs layered with plenty of spacey synthesizer leads. The album's most impressive achievements are the title track, a pulse-pounding tribute to the joys of self expression that combines churchy organ riffs and stately horns over a furiously-paced bass/clavinet rhythm, and "Tis Your Kind of Music," a psychedelic-funk masterpiece that has Patryce "Chocolate" Banks and Graham trading sultry lead vocals over an otherworldly blend of keyboard and Mellotron riffs with a fluid bassline. Another stunner is "Today," a funk-rock workout that starts with a slowly-woven tapestry of keyboard riffs before launching into a cosmic vocal section that underscores the group's choral harmonies with some fiery guitar leads. Although it lacks an overtly pop-flavored classic like "Can You Handle It?" or "Your Love," nothing on this album is less than interesting thanks to stellar arrangements and the group's obvious love for what they do -- the sunny energy that propels songs like the title track and "Got to Get Through It" is positively infectious. The result is a true gem that is a treat for funk fanatics and a required listen for anyone with a serious interest in Graham Central Station. AMG.

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The Fabulous Thunderbirds - Girls Go Wild 1979

Their debut album, with the original lineup of Wilson, Vaughn, Buck, and Ferguson stompin' through a roadhouse set of covers and genre-worthy originals. One of the few white blues albums that works. AMG.

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Atlanta Rhythm Section - Third Annual Pipe Dream 1974

For their third album, the Atlanta Rhythm Section, newly signed to Polydor after a couple of releases for Decca, put their best foot forward with some good-time Southern-flavored rock & roll for the album's opener, "Doraville," a catchy tribute to their hometown. They also weave a subtler spell with "Jesus Hearted People," which presents their love of Southern culture in more general terms. From there it's off to the suitably bluesy moments on "Close the Door" and the moody instrumental "Blues in Maude's Flat," and into swamp rock territory on "Join the Race (To Inner Space)," which also slips in a few hints of progressive rock jamming, especially on the keyboards and the guitar break. And that's all just the first side -- the second side of the original LP shows the band in a more introspective and experimental mode (especially on "The War Is Over"), but doesn't skimp on the musicianship, basic and otherwise, and "Angel (What in the World's Come Over Us)" even adds harmonies almost worthy of Crosby, Stills & Nash. The resulting record ended up breaking a few rules at the time -- most Southern bands (apart from the Allman Brothers) weren't supposed to get too experimental -- but it touches all the right buttons to make good listening three decades later and counting. Sad to say, at the time it only peaked at number 74 (which would be their highest LP chart placement for the next couple of years), and yielded a pair of regional hits, "Doraville" and "Angel"; but it's worth tracking down for more than a couple of listens for a sharper take on the permutations of "Southern rock." AMG.

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49th Parallel - 49th Parallel 1969

49th Parallel was one of an unusual breed of garage punk bands to come out of Canada in the mid-'60s. Originally known as the Shades of Blond when they were formed in Calgary, Alberta, Canada, the band featured Dennis Abbott on vocals, Dan Lowe and Bob Carlson on guitars, Dave Petch at the organ, Mick Woodhouse on bass, and Terry Bare on drums.

The band was signed to Gaiety Records and made their debut in mid-1967 with "Labourer," a piece of hard-edged garage punk, laden with fuzz-tone guitar and a defiant sneer, that sold moderately well in Canada. Their second single, "Blue Bonnie Blue" (co-written by a then-unknown Delaney Bramlett about the equally unknown Bonnie Bramlett, no less) had more of a lyrical folk-rock feel, though it kept its sharp edge in the singing and lyrics. Around this time, Woodhouse exited the lineup and was succeeded by Dave Downey on bass; he was later replaced by Alf Cook, and Dennis Mundy (and later Jack Velker) succeeded Petch on organ. In the spring of 1969, they finally had a national hit in Canada with "Twilight Woman," which charted in parts of the United States as well, and sounded like a poppier, slightly folkier version of the sound that bands like Tomorrow were generating in England. The group was never able to capitalize on the success of "Twilight Woman" and its follow-up, "Now That I'm a Man," however, in part because they were unable to hold their lineup together. Lead singer Dennis Abbott quit after their release, and in the course of changing personnel -- with Doran Beattie replacing him -- their sound changed. By 1970, the group had changed its name to Painter. The latter group scored a modest hit with "West Coast Woman" and its follow-up, "Crazy Feeling," before the band was renamed Hammersmith in the early to mid-'70s. They, in turn, issued a pair of singles, "Feelin' Better" and "Late Night Lovin' Man."

At their best, 49th Parallel had a hard, cutting sound that could have put them in the front ranks of garage punk bands, their slashing guitars and swirling organ around Abbott's lead vocals making a compelling and memorable sound, which was easily adaptable to psychedelic punk. Their slow ballads were suitably spacey in a pop/rock vein, but it was their harder numbers that hold up best. Like a lot of '60s bands, they outlived their era and metamorphosed into new shapes and directions. Guitarist Dan Lowe later made a fortune in the field of multimedia sound design, as the inventor of Q-Sound. AMG.

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Orpheus - Joyful 1969

Orpheus' final MGM album is softer and poppier than the other LPs the group had done for the label, but not that much softer and poppier, as Orpheus were already pretty piffling at the outset. Like their other albums, it's full of lushly orchestrated original material that strives to be grand and important, but is much closer to mushy, sunshine pop than art. The feel-good bounciness of the harmonies and lyrics is incessant. It's one thing to be airy, another to be airheaded, and the group often treads perilously close to the latter trait. In order for pop/rock this light and romantic to work, the melodies have to be damn good; on this album, however, they're not close to being good enough, though the disc might find favor with sunshine pop cultists after something with a little more pretension than is common in the style. All of the songs are included on the Big Beat double-CD compilation The Best of Orpheus. AMG.

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