Armageddon - Armageddon 1969

"The band was likely based in New Jersey, though their only album came out on the Los Angeles label Amos Records in 1969.  Not to be confused with the later UK group of the same name, this Armageddon leaned into fuzzed-out acid rock, garage psych, and strange late-’60s vibes. The record opens with the moody “Armageddon Theme” and closes with a wild, fuzz-heavy take on “The Magic Song (Bibbidi-Bobbidi-Boo).” In between, they deliver a gritty version of Cream’s “Tales of Brave Ulysses,” a Tolkien-inspired trip called “Bilbo Baggins,” and standout deep cuts like “Cave of the Winds.” A rare and obscure LP that stayed off the radar but has gained attention with collectors of heavy psych, oddball covers, and underground rock." VinylPiper
 

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The Peddlers - Three In A Cell 1968

The Peddlers were one of the most improbable success stories in British popular music of the 1960s and '70s. Sporting a spare, minimalist image (right down to their dark clothes and short hair), they played a brand of pop-jazz that was far removed from the rock & roll they had played or the rock music that was sprouting around them, but they scored enough successes to keep going for a decade and record for two different major labels. AMG.

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The Chris Hinze Combination - Stoned Flute 1970

Chris Hinze Combination was presented internationally 1971 in the Casino at Lake Geneva during the Montreux Jazz Festival. From then on Chris Hinze went on the road all over Europe. Mainly American musicians joined the Combination, like John Lee, Gary Brown, Charlie Mariano, James Batton, Kevin Eubanks and many others. As the setting changed through the years, 'Combination' turned out to be an extremely apropriate name, since Hinze is always searching for new influences, interacting with musicians from other cultures, changing members of the Chris Hinze Combination for new tours and albums.

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Vos Voisins - Vos Voisins 1971

Great early 70's progressive hard rock. One of lesser known Canadian bands/LP's of this era. The album is very well recorded/mixed, the musicianship and songwriting is super tight, with loads of guitar/keyboard interplay throughout. A touch of Quebecois lyrical humour thrown into the mix, and we have what we can consider to be a near perfect album. Guitarist Serge Vallieres would later join the Ville Emard Blues Band. 

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Grace Jones - Portfolio 1977

Disco mix king Tom Moulton produced these tracks at Sigma Sound in Philadelphia using the same musicians Kenny Gamble and Leon Huff held hostage for their sessions. The results are quite different: though polished, these tracks don't jump out at you. It's really a producer's album. Moulton probably had these tracks completed long before he knew who was going to sing them. Give Grace Jones credit though, she gives credence to old fuddies like "Send in the Clowns," "La Vie en Rose" is lilting, and "I Need a Man," displays a vulnerable Jones. AMG.

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Wilkinson Tri-Cycle - Wilkinson Tri-Cycle 1969

Wilkinson Tri-Cycle's only album is similar to post-psychedelic heavy rock recordings by East Coast groups like Sir Lord Baltimore and Yesterday's Children in that they combine bluesy heavy rock with psychedelic flourishes, but the effect is largely unremarkable. The album is nonetheless treasured by European collectors, who reportedly command a high price for the LP. Highlights include their cover of Sleepy John Estes' "Leaving Trunk," popularized at the time by Taj Mahal, and the Beatlesque ballads "Poursha Poe" and the elegant "Yellow Wall." It was actually released on a little-known R&B subsidiary of CBS, Date Records. None of the band went on to any major success after the demise of the group. Perhaps the most interesting item of note is that this was one of many albums produced by writers/producers Warren Schatz and Stephen Schlaks at Associated Recording Studios in New York City. The Brooklyn-born Schatz had originally recorded hits of his own as Ritchie Dean for the Tower label, then went on to form several short-lived groups before focusing on producing. Together, he and Schlaks (who co-wrote the Turtles' "Your Maw Said You Cried") partnered up to produce numerous post-psychedelic/heavy rock acts like Yesterday's Children and Banchee. Schatz continued to work as a producer and had his biggest success in the mid-'70s disco era as a staff producer at RCA, where he produced hits for Evelyn "Champagne" King and Vicki Sue Robinson ("Turn the Beat Around" went to number ten on Billboard's pop charts in the summer 1976). He also worked with the studio cast on the 1979 production of Hair -- A Disco Spectacular, and since then has worked with artists in various other genres, including jazz and country. AMG.

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Orleans - Orleans 1973

Orleans were never a favorite of rock critics, who disliked the soft rock/pop/rock outfit for the same reason they disliked Chicago, America, Player, Pablo Cruise, and Firefall: They saw Orleans as unchallenging. That much is true; Orleans were never the most challenging band in the world. But then, they weren't trying to be. Orleans are what they are -- laid-back, congenial soft rock with occasional R&B influences -- and complaining about the lack of danger in their music is sort of like faulting a romantic comedy for not being as edgy as one of Martin Scorsese's film noir masterpieces. If you're going to honestly evaluate an Orleans album, you have to apply soft rock standards -- not hard rock standards, not punk and new wave standards, not P-Funk standards. And when soft rock standards are applied, one finds that Orleans' self-titled debut album of 1973 is a fairly promising, if imperfect and inconsistent, effort. The LP isn't without pedestrian filler, but its best tracks -- which range from the mildly funky "Tongue-Tied" to the anthemic, gospel-tinged "Half Moon" -- are quite memorable. Although Orleans are a soft rock/pop/rock band first and foremost, they aren't oblivious to soul and funk -- the cynical "Two-Faced World," in fact, combines pop/rock sensibilities with an awareness of Sly & the Family Stone. Orleans were never as funky as Stone or Tower of Power; for that matter, they weren't as gritty or soulful as Janis Joplin, who John & Joanna Hall wrote "Half Moon" for in 1970. But it is safe to say that an appreciation of soul and funk were among the weapons in the band's soft rock/pop/rock arsenal. This 1973 debut wasn't a blockbuster -- Orleans' big commercial breakthrough didn't come until 1975 -- but the soft rock fans who acquired the LP could hear Orleans' potential. AMG.

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Sam Taylor, Jr. - The Tunnels Of My Mind 1969

Soul/blues guitarist, singer, songwriter, and band leader. Taylor written hundreds of songs, many of them hits and some even gold records like "Do It 'Til You're Satisfied", performed by the B.T. Express. Taylor worked with Freddie King, Son Seals, Jimmy Witherspoon, Jay & The Americans, Joey Dee, Maxine Brown and Joe Tex. He also was bandleader/guitarist for the likes of Big Joe Turner, Isley Brothers, Tracy Nelson, Otis Redding and Sam & Dave as well as being an esteemed vocalist with Joey Dee & The Starliters, Drifters and The Rascals.

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The Doors - Morrison Hotel 1970

In late 1969, the Doors were reeling. That March, singer Jim Morrison was charged, tried, and convicted of obscenity for allegedly exposing himself at a concert in Miami. It resulted in promoters canceling future gigs. The July release of The Soft Parade provided more angst. Tired of the sound that governed their previous outings, the band incorporated horn and string arrangements with a new melodic accessibility. It signaled an unwelcome change for critics (though it did reach number six and was radically reappraised posthumously). In November they entered the studio with producer Paul Rothchild exhausted, stressed, and angry. Going back to blues and R&B basics seemed like the only direction to pursue.

Morrison Hotel is often dubbed the Doors' blues album, due to raucous opener "Roadhouse Blues," one of the band's most enduring tunes. (Interestingly, it was issued as the B-side of first single "You Make Me Real.") Ray Manzarek leaves behind his organ to pound an upright piano, while guitarist Robby Krieger adds a filthy Chicago-styled riff, prodded by a rock shuffle from drummer John Densmore. The Lovin' Spoonful's John Sebastian (using the pseudonym "G. Puglese") provides its iconic harmonica wail. "Waiting for the Sun" is one of four tunes Morrison composed himself, and a psychedelic holdover from the 1968 album bearing the same title. Manzarek plays a spacy harpsichord as Krieger offers trippy slide guitar. "You Make Me Real" underscores the blues-rock motif, with roiling electric piano, stinging guitar vamps, and Densmore's swaggering shuffle. Morrison lords over all with his boozy, baritone roar. The organ returns on the downright funky boogie of "Peace Frog," as Morrison sings of "blood in the streets" addressing the civic unrest then gripping the nation. He counters near the end with a spoken stanza from his optimistic poem Newborn Awakening. "Ship of Fools" contains shifting time signatures that cross jazz, R&B, and pop, while the buoyant "Land Ho," offers an adventure-laden lyric in a sprawling rock & roll sea chanty, where Manzarek wields his organ like a mad calliope. Krieger's deep, bluesy, minor-key intro to "The Spy" is framed by jazzy electric piano and Morrison's sultry delivery, which approximates a lounge singer. "Queen of the Highway" is fueled by Densmore's powerful drumming and Manzarek's creative use of the Rhodes piano. One of the Doors' most progressive cuts, it seamlessly integrates blues, jazz, and spacy psychedelia. "Maggie McGill" closes the circle on the blues tip. Krieger's unruly, double-tracked slide riffs duel with a pulsing, distorted organ; Densmore bridges them under Morrison's slithering growl -- it foreshadows the singing style he displayed so abundantly on L.A. Woman in 1971. Blues and R&B were foundational to the Doors' musical vocabulary. They employed them to some degree on all of their albums, but never as consistently, adeptly, or provocatively as they did on Morrison Hotel, with absolutely stunning results. AMG.

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Jeremy & The Satyrs - Jeremy & The Satyrs 1968

Although Jeremy & the Satyrs' album was unusual for its time; its early jazz-rock fusion, with bits of soul and blues, was better on paper than in execution. The vocal numbers usually had pedestrian soul-rock bases, not aided by the hoarse singing (uncredited on the sleeve). There were also instrumental pieces; at times, about the only thing separating this from run-of-the-mill blues-rock or soul-rock was the very jazzy flute. AMG.

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Geno Washington & the Ram Jam Band - Uptight 1967

Geno Washington & the Ram Jam Band are an England-based soul band. Geno Washington is an American R&B singer, who released five albums with The Ram Jam Band between 1966 and 1969, and eight solo albums beginning in 1976. The Ram Jam Band were formed around 1964 by Pete Gage and Geoff Pullum. Before taking on Geno Washington, whom Gage knew from performing at the RAF Bentwaters US Air Force base, they had a Jamaican Blue Beat singer by the name of Errol Dixon front the band as they embarked on the London club circuit. Gage approached Washington to finance his demobbing to the US and to return to front the band as it seemed essential to have an American to perform US soul rather than the West Indian alternatives in London at that time.

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Swallow - Swallow 1973

Duke & the Drivers had fun living out their fantasy on ABC Records but, under the aegis of the redoubtable Buddy Buie and with help from the Atlanta Rhythm Section, Boston's Swallow were very serious about their craft, and it shows on this collection of understated blues-rock. Vern Miller, Jr. of the Remains, George Leh, and New England personalties Parker Wheeler and Phil Greene (the extra "e" is missing from the legendary engineer's name on this disc) are four of the nine musicians who make up the large outfit. On one of the all-time worst album covers -- a green martian hand holding the nose of the man in the moon (presumably, so he can swallow) -- the nine musicians are displayed above a moonscape, their names out of order with the photos. In 1973, the Atlanta Rhythm Section emerged from the remnants of the Classics IV and, with J.R. Cobb and Barry Bailey of that group on this disc, along with B.J. Thomas/Friend & Lover/Billie Joe Royal producer Buie, one would think Warner Bros. would have been more serious about this outing. Most of the titles are by Miller, making the album a statement by the man Danny Klein of the J. Geils Band calls his favorite bass player. Two co-writes by Leh are included, along with two Randy Newman songs, "Illinois" and the often covered "I'll Be Home." Although Buie co-wrote all the hits of the Atlanta Rhythm Section, his magic is not added here, and perhaps that is what is missing. The record is better than decent -- it is very good -- despite the fact there is no hit to launch it from obscurity. Greene went on to engineer Beaver Brown, New Kids on the Block, and the sessions this writer did with Buddy Guy in 1986, while blind singer Leh developed a following and great reputation performng around the Boston area. "Georgia, Pack My Bags" isn't a hit, nor is "Rockin' Shoes"; perhaps the closest thing to a potential chart climber is "Don't Tell Mama," some kind of answer, not to Etta James, but to Savoy Brown's minor hit from their 1971 Street Corner Talking album, "Tell Mama." At least they showed respect for their elders! There was much potential here; it's too bad the label and/or management mishandled the look of the album, and failed to give this large group a couple of songs their musicianship could work with to reach the masses. But, for fans of the legendary Remains, it is another chapter in the career of Vern Miller and an essential item in order for their collections to be complete. AMG.

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V.A. - Bumpers (Island Sampler) 1970

A bountiful double album package rounding up the cream of the UK Island label's 1970 output, highlighting recent releases and anticipating forthcoming ones and following, of course, a tradition launched by the earlier You Can All Join In and Nice Enough To Eat.
Of all the labels operating in the UK as the decade turned, Island was unquestionably the most adventurous, at the same time as maintaining a stable whose internal logic now seems impeccable. Leaning towards the folkier side of hard rock, and the bluesier edge of prog - an adventure that allowed King Crimson and Mott The Hoople to rub shoulders with Cat Stevens and Traffic - Island rounded up the cream of the British underground, an these periodic compilations showcased it at its best. Indeed, they frequently maintained ad cohesion and sense of musical purpose that the artists themselves often struggled to match. They were more than simple advertisements, however. Bumpers includes two genuine rarities, as both Mott The Hoople and Fairport Convention are represented by otherwise unavailable versions of their contributions ("Thunderbuck Ram" and "Walk Awhile" respectively), while efforts from the Keith Relf/Jim McCarty-era Renaissance, Clouds and Quintessence remind us of a day when even the greatest modern collectibles were regular new releases. Island ranks among the most collectible British labels of the entire rock'n'roll era. Every track on Bumpers offers another reason why. AMG.

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The D.R. Hooker Band - Armageddon 1979

Far lesser-known to collectors than 'The Truth,' D.R. Hooker's second outing is seemingly just as rare and just as good as (if not better than) its predecessor. In fact, I'd go so far as to say that side 1 of this LP is perhaps the best thing Mr. Hooker ever did musically. There's no real "psych" moves here, so let's get that out of the way first - though, one could of course argue how much "psych" is really on the over-hyped first album... Anyways, this record pushes more into the realms of prog and hard rock. At its peak it sounds like The Doors doing a new '70s album with some rando filling in for Jim Morrison. Hooker's voice does kinda grow on ya, but it's buried in the mix here, which isn't necessarily a bad thing.

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Miles Davis - Miles Smiles 1967

With their second album, Miles Smiles, the second Miles Davis Quintet really began to hit their stride, delving deeper into the more adventurous, exploratory side of their signature sound. This is clear as soon as "Orbits" comes crashing out the gate, but it's not just the fast, manic material that has an edge -- slower, quieter numbers are mercurial, not just in how they shift melodies and chords, but how the voicing and phrasing never settles into a comfortable groove. This is music that demands attention, never taking predictable paths or easy choices. Its greatest triumph is that it masks this adventurousness within music that is warm and accessible -- it just never acts that way. No matter how accessible this is, what's so utterly brilliant about it is that the group never brings it forth to the audience. They're playing for each other, pushing and prodding each other in an effort to discover new territory. As such, this crackles with vitality, sounding fresh decades after its release. And, like its predecessor, ESP, this freshness informs the writing as well, as the originals are memorable, yet open-ended and nervy, setting (and creating) standards for modern bop that were emulated well into the new century. Arguably, this quintet was never better than they are here, when all their strengths are in full bloom. AMG.
 

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