Bob Marley & The Wailers - Babylon By Bus 1978

Arguably the most influential live reggae album ever, Babylon by Bus captures Bob Marley and the Wailers during the European leg of their Kaya tour in the spring of 1978. The success of this set was not entirely unexpected, however. If the universal and widespread acclaim of Live! -- their first concert recording -- was an indicator, all involved knew that a Bob Marley & the Wailers performance contained unique energies and a vibe all of its own. Sharply contrasting the somewhat pastoral grooves of the Kaya album, Babylon by Bus possesses a more aggressive sound -- which was a trademark of this particular band. Tyrone Downie's progressive rock keyboard flavors on "Exodus," as well his judiciously located percussive clavinet accentuations during "Punky Reggae Party," lock-in with Aston "Familyman" Barrett's viscous basslines to create something akin to psychedelic reggae or even along the lines of Parliament/Funkadelic. Likewise, "Heathen" highlights Anderson's explosive guitar leads, which are distinctly reminiscent of Eddie Hazel from his early days with Funkadelic. The lead guitar solos on "Rebel Music (3 O'Clock Roadblock)" and "Is This Love" also define Al Anderson's innovative and decidedly Western guitar style, as it is seamlessly and thoroughly integrated with Marley and the Wailers. As with their first concert album, Babylon by Bus highlights material from the band's history up to that point. "No More Trouble" is placed in an entirely new context when linked with "War," which features lyrics taken from a United Nations speech given by Haille Selassie I, the Ethiopian emperor considered the father of modern Rastafarianism. Other early tracks, such as "Kinky Reggae" and "Stir It Up," prove to be not the only favorites of concert attendees. More recent offerings of "Is This Love," "Jammin'," and "Exodus" actually garner the most audible support. Without question, Babylon by Bus is an integral component of any popular music collection. AMG.

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Brave New World - Impressions on Reading Aldous Huxley 1973

Exceptional psych-electronic rock experimentations by another obscure 70's band from Germany. This album is said to be inspired by Aldous Huxley's famous, enchanting writings & mystical philosophy. It's clear that the entirety of the album is assured by a vast arsenal of weird incantations and deep hallucinogenic effects. The content is very colorful, luminous, eclectic and perfectly orchestrated. Nothing is linear or boring and the psych grooves work like magic. It's not easy to understand in one listening to the complexity of this release. In some aspects, it tends to be near to kraut-experimentations but without the sinister vibe, the ambiances provided are rather optimistic and enthusiastic. The prologue is based on dreamy-like flute lines and tranced-out organic drones. "Alpha Beta Gamma" is an epic, progressive spacey rock composition dominated by soft, pop, floating-sounding improvisations. "Lenina" is an enigmatic, fragile, celestial song for the flute, moody bass lines, a beautiful air. "Soma" is a really stoned, kraut, outer space experience, featuring a lot of intergalactic electronic sounds and massive rocking energy! "The end" is the central piece here, a majestic "cosmic" rock essay with a lot of guitars, sax, dreamy flutes, and weird effects. Epilogue is a recitation. A mesmeric, highly inspired psychedelic album. A little classic! "Progarchives"

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Little Feat - Dixie Chicken 1973

Following Roy Estrada's departure during the supporting tour for Sailin' Shoes, Lowell George became infatuated with New Orleans R&B and mellow jamming, all of which came to a head on their third album, 1973's Dixie Chicken. Although George is firmly in charge - he dominates the record, writing or co-writing seven of the 10 songs - this is the point where Little Feat found its signature sound as a band, and no album they would cut from this point on was too different from this seductive, laid-back, funky record. But no album would be quite as good, either, since Dixie Chicken still had much of the charming lyrical eccentricities of the first two albums, plus what is arguably George's best-ever set of songs. Partially due to the New Orleans infatuation, the album holds together better than Sailin' Shoes and George takes full advantage of the band's increased musical palette, writing songs that sound easy but are quite sophisticated, such as the rolling "Two Trains," the gorgeous, shimmering "Juliette," the deeply soulful and funny "Fat Man in the Bathtub" and the country-funk of the title track, which was covered nearly as frequently as "Willin'." In addition to "Walkin' All Night," a loose bluesy jam by Barrere and Bill Payne, the band also hauls out two covers that fit George's vibe perfectly: Allan Toussaint's slow burner "On Your Way Down" and "Fool Yourself," which was written by Fred Tackett, who later joined a reunited Feat in the '80s. It all adds up to a nearly irresistible record, filled with great songwriting, sultry grooves, and virtuosic performances that never are flashy. Little Feat, along with many jam bands that followed, tried to top this album, but they never managed to make a record this understated, appealing, and fine. AMG.

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Pepper Tree - You're My People 1971

Pepper Tree hailed from Nova Scotia and was formed in 1967. After a few years of saturating the club scene in Canada, the band finally landed a contract with Capitol Records in 1969. 

Producer, Jack Richardson, was drafted to produce a single which saw the band charting in their native country. Lineup changes ensued over the next year, until "You're My People" hit store shelves in 1971.

The album was a solid mix of folk, pop, prog, and organ-driven hard rock. With stellar harmonies and a real wealth of musical diversity, the album seemed poised for success, but for one reason or another that never came to pass. More lineup changes took place over the next two years with Capitol issuing numerous failed singles. By 1973, the band was belly up and members went on to such bands as Rhinegold, Molly Oliver, Hanover Fist, Wrabit, Lee Aaron, Chilliwack, and Headpins. Many of them are still active in both performing and producing music.

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Edgar Winter - Entrance 1970

Edgar Winter came out of the chute kicking with this remarkable record filled with jazz, blues, and a little old-fashioned rock & roll. The record follows an established theme throughout its first side, stringing the songs together without breaks, highlighted by dreamy keyboard and sax work, plus Winter's smooth vocalizations. But jazz isn't the only thing Winter brings to the party. His first recorded version of the old J.D. Loudermilk tune "Tobacco Road" throws a few nice punches (although the live version with White Trash a few years later would prove the definitive one). "Jimmy's Gospel" plays on his early church influences, while "Jump Right Out" is the predecessor of half-a-dozen "jump up and dance" numbers Winter would pepper his records within the years to come. AMG.

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Machine - Machine 1970

The Rotterdam-based band started as The Swinging Soul Machine and changed to Machine. Their sound was a mixture of  Psych, progressive, hard rock, and brass rock. Nederbeat was one of the more healthy psych/garage scenes coming out of continental Europe and Machine were like the latter stages of those groups such as Q65 and Cosmic Dealer. 

Singer John Caljouw came from the legendary dutch band Dragonfly.  The strong Hammond organ presence adds a proto-prog sound similar to Deep Purple and Mainhorse. Horns were frequently inserted in those days to increase the odds of a chart appearance, given the wild success of Chicago and Blood Sweat and Tears. And, as expected, there's also a strong blues influence throughout. 

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The Three Degrees - Maybe 1970

Philly soul vocal group the Three Degrees started in 1963 in Philadelphia, PA. They were discovered by producer and songwriter Richard Barrett. Barrett was a key force for 1950s groups the Chantels, Little Anthony & the Imperials, Frankie Lymon and the Teenagers, and his own group the Valentines. The original lineup was Fayette Pickney, Shirley Porter, and Linda Turner. Barrett recorded this lineup on their first single, "Gee Baby (I'm Sorry)." In 1963, Linda Turner and Shirley Porter left the group and were replaced by Helen Scott and Janet Jones. Around this time, Barrett began managing and producing Sheila Ferguson who was a high school friend of Scott. Barrett got deals for both the group and Ferguson with Swan Records. By 1966, Helen decided to leave the group and become a housewife. Sheila Ferguson took her place. She sang backup on all the Three Degrees' Swan recordings, as did the Three Degrees for her solo singles. In 1967, Valerie Holiday joined the group, while Janet Jones departed. Over the next four years, both the Three Degrees and Ferguson released many singles. In 1970, now signed to Roulette Records, the Three Degrees scored their first national chart hit with a remake of the Chantels' "Maybe". It went to number four R&B in summer 1970. The follow-up, "I Do Take You," peaked at number seven R&B. Barrett got the group short-term deals with Warner Bros., Metromedia, and Gamble & Huff's Neptune label. The group had a cameo in the classic 1971 movie The French Connection starring Gene Hackman and toured with Engelbert Humperdink. In 1973, Barrett worked a deal with Gamble & Huff's Philadelphia International Records (PIR). The Three Degrees' first PIR single was "Dirty Ol' Man," a disco hit. A short time later, Don Cornelius, producer and host of TV's Soul Train, approached Gamble & Huff about coming up with a new theme song for his hit syndicated show. The Three Degrees were asked to do vocals at the end of the show's new theme track. After some airings, public demand forced the TV show's theme to be released as a single. "TSOP (The Sound of Philadelphia)" by MFSB featuring the Three Degrees went gold hitting number one R&B and holding the number one pop for two weeks during spring 1974. Meanwhile, a previously released Three Degrees single, "Year of Decision," stalled at number 74 R&B. Another MFSB/Three Degrees single, "Love Is the Message," peaked at number 42 R&B in the summer of that year. In the summer of 1974, PIR released another single on the group, "When Will I See You Again." The single went platinum, selling over two million copies, going to number four R&B and number two pop around September 1974. Their PIR debut album, The Three Degrees, was released at the end of 1974. The follow-up, "I Didn't Know," written and produced by Bunny Sigler, went to number 18 R&B in early 1975. The group performed the song on a guest appearance on the hit NBC show Sanford and Son. Their only other charting PIR single was "Take Good Care of Yourself" (number 64 R&B in summer 1975). Around 1976, Pickney left the group and was replaced by returning member Helen Scott. CBS released their album Standing up for Love in the U.S. in 1977. In 1978, the Three Degrees were signed to European label Ariola Records. The group recorded three LPs for the label. Longtime favorites in the U.K., the group performed at Buckingham Palace for Prince Charles' 30th birthday party and they were guests at his wedding to Princess Diana. During the first half of the '80s, the Three Degrees released U.K.-issued albums, Album of Love and Live in the UK and singles, "Liar" and "A Sonnet to Love." Stock/Aitken/Waterman produced a 1985 U.K. chart hit, "The Heaven I Need," on the group for Supreme Records. In 1986, Sheila Ferguson left the group. With Helen Scott, Valerie Holiday, and Victoria Wallace, the group recorded an album for Ichiban Records, ...And Holding! The act recorded another live CD with Billy Paul and Harold Melvin and the Bluenotes during a TSOP tour in the summer of 1989. Scott, Holiday, and new member Cynthia Garrison recorded three albums in the 1990s. AMG.

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Lou Donaldson - Cosmos 1971

Lou Donaldson has long been an excellent bop altoist influenced by Charlie Parker, but with a more blues-based style of his own. His distinctive tone has been heard in a variety of small-group settings, and he has recorded dozens of worthy and spirited (if somewhat predictable) sets throughout the years.

Donaldson started playing clarinet when he was 15, soon switching to the alto. He attended college and performed in a Navy band while in the military. Donaldson first gained attention when he moved to New York and in 1952 started recording for Blue Note as a leader. At the age of 25, his style was fully formed, and although it would continue growing in depth through the years, Donaldson had already found his sound. In 1954, he participated in a notable gig with Art Blakey, Clifford Brown, Horace Silver, and Tommy Potter that was extensively documented by Blue Note and that directly predated the Jazz Messengers. However, Donaldson was never a member of the Messengers, and although he recorded as a sideman in the '50s and occasionally afterward with Thelonious Monk, Milt Jackson, and Jimmy Smith, among others, he has been a bandleader from the mid-'50s up until the present.

Donaldson's early Blue Note recordings were pure bop. In 1958, he began often utilizing a conga player, and starting in 1961, his bands often had an organist rather than a pianist. His bluesy style was easily transferable to soul-jazz, and he sounded most original in that context. His association with Blue Note (1952-1963) was succeeded by some excellent (if now-scarce) sets for Cadet and Argo (1963-1966). The altoist returned to Blue Note in 1967 and soon became caught up in the increasingly commercial leanings of the label. For a time, he utilized an electronic Varitone sax, which completely watered down his sound. The success of "Alligator Boogaloo" in 1967 led to a series of less interesting funk recordings that were instantly dated and not worthy of his talent.

However, after a few years off records, Lou Donaldson's artistic return in 1981 and subsequent soul-jazz and hard bop dates for Muse, Timeless, and Milestone have found the altoist back in prime form, interacting with organists and pianists alike and showing that his style is quite timeless. AMG.

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Livin' Blues - Hell's Session 1969

This Dutch blues band was formed in the Hague around 1967, becoming a regular outfit from 1969. The early line-up included Bjorn Toll (vocals), John Lagrand (harmonica), Ted Oberg (guitar), Ruud Fransen (bass), and Niek Dijkhuys (drums) but although the name remained wholesale changes soon took place, bringing in a new singer, Nicko Christiansen, and new bass and drums, Peter Kleinjan and Beer Klaasse, the latter pair being swiftly replaced by Gerard Strutbaum and Cesar Zuiderwijk, while keyboard player Henk Smitskamp was added. Other changes followed through the 70s, by which time the band’s repertoire was more inclined towards the rock. Musicians involved included bass players Ruud van Buuren, Jan van der Voort, Jaap van Eijk and André Reynen, drummers John Lejeune, Herman van Boeyen, Cor van Beek, Michel Driessen, Kenny Lamb, and Arjen Kamminga; the latter pair played in the band simultaneously for a spell. Smitskamp sometimes played bass, singer Johnny Frederiksz came in, as did organist Paul Vin and guitarist Ron Meyes.

Although best known in the Netherlands, Livin’ Blues also gained a following elsewhere in Europe, especially in Poland. At the start of the 80s, the band included Oberg, Christiansen, Evert Willemstein (bass) and Boris Wassenbergh (drums). Spin-off bands formed by ex-members of the Livin’ Blues included Nitehawk and the J&T Band, while most members also played with other Dutch blues and rock bands. The band recorded from 1968, cutting a few singles with its first album coming in 1969. The band appears to have drifted from the limelight after the early 80s but interest in its recorded work remained high into the new millennium. AMG.

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Norman Greenbaum - Spirit In The Sky 1969

Best-known for his 1970 hit "Spirit in the Sky," singer/songwriter Norman Greenbaum was born November 20, 1942, in Malden, MA. He began his musical career while a student at Boston University, playing area coffeehouses before relocating to the West Coast during the mid-'60s and forming a kind of psychedelic jug band dubbed Dr. West's Medicine Show and Junk Band. After issuing the 1966 single "The Eggplant That Ate Chicago," which fell just shy of reaching the Top 50, the group disbanded, and Greenbaum subsequently formed a series of short-lived acts before finally returning to his solo career in 1968. A year later he issued his debut LP, Spirit in the Sky, releasing several unsuccessful singles before reaching the Top Three with the smash title track, which sold some two million copies. It proved to be Greenbaum's only hit, however, as follow-ups like 1970's "Canned Ham" and the next year's "California Earthquake" tanked; after the release of 1972's Petaluma, he retreated from music to focus on his California dairy farm, but returned to show business during the mid-'80s in a managerial capacity, also promoting a number of concerts. AMG.

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Bee Gees - Bee Gees' 1st 1967

The debut international long-player by the Bee Gees may shock anyone who only remembers them for their mid-to-late-'70s disco mega-hits or their quirky early-'70s romantic balladry. Up until 1966, they'd shown a penchant for melodic songs and rich, high harmonies, in the process becoming Australia's answer to the Everly Brothers. When the Bee Gees arrived in London late in 1966, however, they proved quick studies in absorbing and assimilating the progressive pop and rock sounds around them. In one fell swoop, they became competitors with the likes of veteran rock bands such as The Hollies and the Tremeloes, and this long-player, Bee Gees' 1st, is more of a rock album than the group usually got credit for generating. Parts of it do sound very much like the Beatles circa Revolver, but there was far more to their sound than that. The three hits off of Bee Gees' 1st, "To Love Somebody," "New York Mining Disaster 1941," and "Holiday," were gorgeous but relatively somber, thus giving Bee Gees' 1st a melancholy cast, but much of the rest is relatively upbeat psychedelic pop. "In My Own Time" may echo elements of the Beatles' "Dr. Robert" and "Taxman," but it's difficult to dislike a song with such delicious rhythm guitars and a great beat, coupled with the trio's soaring harmonies; "Every Christian Lion Hearted Man Will Show You" was close in spirit to the Moody Blues of this era, opening with a Gregorian chant backed by a Mellotron, before breaking into a strangely spaced-out, psychedelic main song body. Robin Gibb's lead vocals veered toward the melodramatic and poignant, and the orchestra did dress up some of the songs a little sweetly, yet overall the group presented themselves as a proficient rock ensemble who'd filled their debut album with a full set of solid, refreshingly original songs. [In 2006, as part of the shift of the group's back catalog to Reprise Records, Bee Gees' 1st was reissued in remastered form, with seriously improved sound and expanded to two CDs with a brace of chronologically-related outtakes -- comprising some of the most fascinating material of their history -- initially as part of the collection The Studio Albums 1967-1968.] AMG. 

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George Duke - The Inner Source 1971

In 1971 George Duke, having just recently done his time with the Mothers of Invention was engaged by the Cannonball Adderley Quintet. Beginning in April of that year, Duke made two recordings over a short timespan that on their release in 1973 as a double LP (against the desire of the artists, by the way), would be a major statement. In Chapter One of his fusion autobiography, Solus, Duke, along with the skeleton crew of bassist John Heard and drummer Dick Berk, tries out the new compositional philosophy he had absorbed from his work with Adderley. The album was obliged to maintain a jazzy environment, illustrated by the harmonically flowing piano improvisation on Love Reborn and the bop-influenced busyness of The Followers. But the record also signifies the importance of the keyboards in all their diverse contexts – the funky rock of Au-right, and the smoldering, dreamy feel of Peace, for instance. And on Manya Duke lives it up as he shows off his exuberant experimental synth side.
The Inner Source continues in the same vein. So There You Go is a downright delightful waltz featuring e-piano, whereas Some Time Ago is pure tonal color and atmosphere. We find an exotic gem in Nigerian Numberumba in which an African Lamellophone is craftily simulated with an echoplex and ring modulator. Duke also begins to vary the lineup here. Feels So Good und My Soul are reinforced with Latin percussion, and incisive horn and reed instruments (luminaries from the Thad Jones and Santana entourages). The same with the title track, a masterstroke of quintet dramaturgy, with Duke on his first instrument, the trombone. As a curiosity, two basses compete with each other on Twenty Five. The last piece, Always Constant, is a more open piece that spontaneously unfolded in the studio.

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Bobby Whitlock - Bobby Whitlock 1972

A former member of Delaney & Bonnie's backup band, as well as a member of Derek & the Dominoes, Bobby Whitlock's first solo record, treads much of the same ground. With contributions from Delaney Bramlett, Whitlock turns in a solid effort filled with southern gospel influences ("A Day Without Jesus") and rootsy rockers. On the mournful ballad "Dreams of a Hobo" Whitlock shows that all his good material was not spent on the Derek & the Dominoes project. Though long out of print, this record is worth searching out for its encapsulation of early-'70s southern roots rock. AMG.

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Don Crawford - Roots & Branches 1970

Earthy work from Don Crawford – a very unique artist who works in a mix of soul and folk modes. This album's got a pretty full set of arrangements, which makes for more of a Terry Callier-like quality than some of Don's other records – but even so, the music's more like the straighter 60s folk than some of the soaring soul sounds of his Cadet years in the early 70s. Crawford's got a deeply soulful voice that rings out beautifully in this setting – and makes the whole sound of the album come through beautifully.

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Mark Moogy Klingman - Mark Moogy Klingman 1972

With a sound much like another Capitol recording artist from the day, the Band, the self-titled album debut from underrated songwriter Mark "Moogy" Klingman came shortly after he appeared on releases by Al Kooper, James Cotton Blues Band, and Shuggie Otis, as well as discs by his friend Buzzy Linhart. "I Can Love" has that Band sound with a strong Klingman vocal; the mood comes right down for "Liz, When You Waltz," which is merely Klingman's piano and voice coupled with Joel Bishop O'Brien's mandolin. It's a great pairing, and the album would have had just as much heart and life had all the tracks received this treatment. Instead, the 12 songs were recorded in six different facilities, with a full band kicking in for "Kindness" -- and not just any bunch of cats, the musicians were as legendary as this strong material would turn out to be. Todd Rundgren, engineer, and co-producer lends his talents on guitar and backing vocals, with Amos Garrett adding the intentionally brittle lead guitar, Stu Woods playing the bass, and N.D. Smart providing the beat. What is stunning about this album is the amount of cover versions of these songs that it spawned. Johnny Winter recorded "Kindness"; Carly Simon included "Just a Sinner" on her first album; the song here that Todd Rundgren and Klingman co-wrote, "Tonight I Want to Love Me a Stranger," found its way onto a James Cotton album; while a Klingman original which had Rundgren dueting on with him, "Crying in the Sunshine," got further validation when Thelma Houston tracked it on one of her sessions. Rundgren doesn't sound like Houston, but it's a neat female vocal from the wizard and true star. The inner sleeve has a photo of young Mark Klingman and all the lyrics, with the band receiving the moniker of the Rhythm Kings, a line from the last tune, "The Man at Ease." The cover photo has the singer/songwriter seated at a piano in a burned-out shell of an apartment or living room; a painting of the artist on the back cover has him looking like a bearded Bob Dylan. Klingman's clean-shaven profile next to it is a nice juxtaposition. Klingman inverted this material for a CD release 18 years later, The First Recordings, 1970-1972, which was put out in 2000, featuring unique copies of the back-cover photos enhanced for the new release's front cover. Side two of this Capitol disc became the first six songs of the CD, followed by the six from side one, and augmented with demos, a lost tape, a duet with Linhart, and a rehearsal. The CD version has more bottom than this vinyl recording, but fans of Rundgren, Utopia, Rick Derringer, and Buzzy Linhart may want the original Capitol item in their collections for sentimental reasons or for the red-and-white-striped socks, which stand out in the cover photo. AMG.

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