Love - Reel to Real 1974

Arthur Lee had every reason to feel disenchanted with his career in 1974, as his harder rock moves on 1970's False Start and his 1972 solo debut Vindicator didn't please critics or fans and his deal with the fledgling Buffalo Records label left him with an unreleased album, Black Beauty, when the company abruptly crashed and burned. Lee had started dipping his toes into material with a stronger R&B edge on Black Beauty, and when RSO Records gave him another chance at a major-label deal, he dove in headfirst: in a Rolling Stone interview, Lee said Reel to Real was his effort to get "as black and funky as I can, man, on my music." If folks hoping for another Da Capo or Forever Changes weren't pleased with False Start or Vindicator, they were simply confused by Reel to Real's funk grooves and banks of horns and keyboards (not to mention a lineup that featured no previous members of Love but Lee). However, while the album has often been written off as a failure, Reel to Real is an album with more than its share of great moments, even if it's inarguably uneven. Lee's vocals are tough but eloquent on these tunes, and though the music is often rooted in deep funk (especially on the percolating "Who Are You" and "With a Little Energy"), blues ("Which Witch is Which"), and vintage R&B ("Stop the Music"), the fierce guitar work from Lee, Melvan Whittington, and John Sterling makes it clear Lee hadn't cut his ties to rock & roll. Psychedelia doesn't really play a part in this music, but the introspective twists of Lee's lyrics confirm he still had plenty to say about the world around him and the universe inside his mind. The closing acoustic version of "Everybody's Gotta Live" (which first appeared on Vindicator) offered a brief glimpse of the sly, thoughtful hippie who had recorded Forever Changes just seven years earlier. Reel to Real plays more like an Arthur Lee solo effort than a Love album (and was blighted with a singularly ugly cover), but it's a good Arthur Lee album, with a tighter focus and a more thoughtful perspective than Vindicator, proving Lee still had a great deal to say even if his audience didn't care to listen. AMG.

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Edward Bear - Bearings 1969

Formed in 1967 around Larry Evoy (drums, vocals), Danny Marks (guitar), and Paul Weldon (organ), Edward Bear was signed to Capitol. "You, Me & Mexico," from their debut album Bearings, hit the Canadian Top Ten in 1970. After their sophomore LP Eclipse, Edward Bear's 1972 single "Last Song" was another hit in the U.S. as well as Canada and sold over one million copies. Marks and Weldon left around this time; they were replaced by Roger Ellis and Bob Kendall, neither of whom stayed more than two years. Along with The Best of the Bear (1984) and The Edward Bear Collection (1991), a self-titled album from 1972 and 1973's Close Your Eyes is also available. AMG.

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Donovan - A Gift From A Flower To A Garden 1967

Rock music's first two-LP box set, A Gift from a Flower to a Garden overcomes its original shortcomings and stands out as a prime artifact of the flower-power era that produced it. The music still seems a bit fey, and overall more spacy than the average Moody Blues album of this era, but the sheer range of subjects and influences make this a surprisingly rewarding work. Essentially two albums were recorded simultaneously in the summer of 1967, the electric tracks include Jack Bruce among the session players. The acoustic tracks represent an attempt by Donovan to get back to his old sound and depart from the heavily electric singles ("Sunshine Superman," etc.) and albums he'd been doing -- it is folkier and bluesier (in an English folk sense) than much of his recent work. AMG.

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Indian Summer - Indian Summer 1971

The quartet was formed in Coventry, UK, in 1969. Members were Malcolm Harker on bass, Paul Hooper on drums, Bob Jackson on keyboards and lead vocals, and Colin Williams on guitar.

Their manager was Jim Simpson who was managing Black Sabbath at the time. Simpson signed Indian Summer with the same production team to record their first and only album. This self-titled album was released two and a half years later, in 1971. Indian Summer disbanded at the beginning of 1972.

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Lindisfarne - Nicely Out of Tune 1970

Easily the best album the group ever recorded, Nicely Out Of Tune is one of the prettiest folk-rock albums of the late 1960s. If Lindisfarne had never recorded anything else, they'd be one of the most fondly remembered acts of their era just for this album. "Lady Eleanor" is a very pretty tune that manages to incorporate elegant mandolin over some heavy rock riffing. "Road To Kingdom Come" is closer in spirit to the group's usual pub-rock sound, a singalong-type number with lots of really crunchy harmonica, mandolin, and fiddle, and a really catchy chorus -- "Jackhammer Blues" is pretty nearly as good a rocker. But "Winter Song" is one of the gentlest, most haunting folk ballads of its period, almost too pretty to have come from a rock band, and "Alan In The River With Flowers" isn't far behind. The rest is in the same class and league, and as a bonus, the CD contains two lost B-sides, "Knackers Yard Blues" and "Nothing But The Marvelous Is Beautiful" -- they're not bad, either. AMG.

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James Gang - Newborn 1975

Tommy Bolin left the James Gang after the release of Miami, leaving the band without a compelling lead guitarist once again. Fox and Peters broke up the group after his departure, but they re-formed a year later, adding guitarist Richard Shack and vocalist Bubba Keith. The new version of the James Gang released their first album, Newborn, in 1975. The record was another collection of mediocre songs -- a problem that plagued the band ever since the departure of Joe Walsh in 1971. On Bang and Miami, the group was able to disguise the absence of good songs with Bolin's playing, but Shack could not compete with his predecessor's forceful, flowing style and Newborn suffered accordingly. AMG.

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Aucán - Aucán 1977

The group Aucán made progressive music with folkloric roots, which at times reached good instrumental climates, with simple and concrete poetry lyrics. At some point the group came to make its sound at the beginning of the first Serú Girán, with abundant mini moog and Fender piano.

Finally Miguel Pérez leaves the band for his solo project Yuelze (which he played with Jinetes Negros last year, within the Cabeza de Moog / Peña Rock cycle at the Rincón cultural space, a show that I tell you they missed because it was great).
The brothers Eugenio and Miguel Perez had been performing as a duo since 1970. They released an independent album in 1972 and performed at Acusticazo. Three years later they summoned their other two younger brothers to shape Aucán, with a more folkloric inclination. After releasing a single also independently, they got a contract for their first LP ("Aucán", 1977). Shortly after, and after performing with Mercedes Sosa and Jaime Torres, Miguel began his solo career and his brothers called on Guillermo Fracchetti as second guitarist.

"Brotes del alba" was the second album, produced in 1980 by León Gieco and presented at the B.A.Rock Festival that year.

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Mac Gayden - Hymn To The Seeker 1976

Mac Gayden was born in Nashville, Tennessee, United States. He played with Charlie McCoy and the Escorts and that group started playing many sessions in Nashville. In the late 1960s, he helped establish two critically acclaimed bands. These were Area Code 615 (signed with Polydor) and Barefoot Jerry (signed with Capitol Records); in which Gayden wrote the songs, played guitars, and sang. Gayden left Barefoot Jerry in 1971 to record his first solo album with Bob Johnston whom he had worked with on Bob Dylan's Blonde on Blonde album, and Johnston asked to produce the solo album on Gayden (McGavock Gayden. EMI). Gayden formed his own band, Skyboat in 1972 and recorded two albums for ABC Records. He also served as producer of an album by Dianne Davidson (Baby) and one by Steve Young (To Satisfy You). Gayden has recorded as a session guitar player with JJ Cale, John Hiatt, Bob Dylan, Linda Ronstadt, Simon and Garfunkel, Kris Kristofferson, Steve Young, Rita Coolidge, Joe Simon, The Valentines, Elvis Presley, Ian and Sylvia, Jerry Jeff Walker, Loudon Wainwright, Connie Francis, The Alarm, Pearls before Swine, Ivory Joe Hunter, Robert Knight ("Everlasting Love"), Clifford Curry ("She Shot A Hole in My Soul"), Bobby Vinton and more. Gayden recorded a lot with Billy Sherrill who produced many hits.

When he was five he started to compose a song on his grandmother's piano ("Everlasting Love"). Later, when he heard Robert Knight's voice while he was performing at a fraternity house at Vanderbilt next to the one Knight's band was playing in, he ran over introduced himself, and told Knight he had a song for him. Gayden got together with Knight and began pulling in the pieces of the song. He also brought in his friend, Buzz Cason, he and Cason produced "Everlasting Love". It was Robert Knight's first hit, followed by another song Gayden wrote, "Rainbow Valley". When Gayden was introduced to Clifford Curry he presented another song he wrote "She Shot A Hole in My Soul", that started Curry's career with a hit. Gayden produced The Valentines on his song "Gotta Get Yourself Together". All these songs were included on the Grammy-winning album produced by the Country Music Hall of Fame, Night Train to Nashville.

Gayden recorded one album on EMI McGavock Gayden, two on ABC Records, Skyboat, and Hymn to the Seeker. The latter he recorded in Miami at Criteria, with Fleetwood Mac recording Rumours in one studio and the Eagles doing Hotel California in the other. Randy Meisner from the Eagles sang background with Gayden on some songs. One album on Winter Harvest Nirvana Blues was then followed by one album on Arena Records, Come Along (2020). He was inducted into the Country Music Hall of Fame, Nashville Cats in 2014 with a ceremony at The Country Music Hall of Fame, and was also included in the Dylan/Cash exhibit for over six years and played many concerts for that exhibit 2014. His guitar and wah-wah pedal were on exhibit at the Hall of Fame as he innovated the slide wah technique on the JJ Cale song "Crazy Mama". Gayden published a book called The Missing String Theory - A Musicians Uncommon Spiritual Journey, which is an autobiography.

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Ry Cooder - Bop Till You Drop 1979

Following his conceptual 1978 release, Jazz, Ry Cooder returned the next year with the R&B/soul-based Bop Till You Drop. The first major-label, digitally recorded album, Bop is a nice set of moderately known to obscure tunes from the '50s and '60s (along with a Cooder/Tim Drummond original) that doesn't always live up to its promise. Cooder and his excellent band, which includes the rhythm section of Tim Drummond and Jim Keltner along with guitarist David Lindley, understand the material and are more than capable of laying down a decent groove, but something must have gotten lost in translation from what was played to what came across on the recording. There's a thinness to the tracks that undermines the performances, which according to Cooder is due to the digital recording. If you check out the live version of Bop Till You Drop's opener, "Little Sister," from the No Nukes record (using the same band), you can see what surely could have been. Still, Bop is worthwhile given Cooder's penchant for choosing great tunes, as well as the tight performances, brilliant guitar work, and a handful of great guest vocalists (including Chaka Khan). A few of the highlights include his arrangement of the early-'60s Elvis hit "Little Sister," the soulful "The Very Thing That Makes You Rich (Makes Me Poor)," an instrumental take on Ike & Tina Turner's "I Think It's Gonna Work Out Fine," and "I Can't Win," featuring Cooder's longtime cohort Bobby King on lead vocal. AMG.

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Génesis - Génesis 1974

Genesis was born in 1972 in the heart of a hippie commune located next to the Benedictine Monks Monastery in Usme, located south of Bogota, Colombia, after the former member of The Speakers, Humberto Monroy, venture into this movement and music projects ever undertaken more experimental.

Gene-Sis, Genesis also known as Genesis of Colombia, was the most persistent project of the first generation of Colombian rock. It was characterized by fusing elements of folk rock with Colombian folk rhythms, especially in the Andean region and in the beginning, on the Caribbean coast.

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Led Zeppelin - Physical Graffiti 1975

Led Zeppelin returned from a nearly two-year hiatus in 1975 with the double album Physical Graffiti, their most sprawling and ambitious work. Where Led Zeppelin IV and Houses of the Holy integrated influences on each song, the majority of the tracks on Physical Graffiti are individual stylistic workouts. The highlights are when Zeppelin incorporates influences and stretches out into new stylistic territory, most notably on the tense, Eastern-influenced "Kashmir." "Trampled Underfoot," with John Paul Jones' galloping keyboard, is their best funk-metal workout, while "Houses of the Holy" is their best attempt at pop, and "Down by the Seaside" is the closest they've come to country. Even the heavier blues -- the 11-minute "In My Time of Dying," the tightly wound "Custard Pie," and the monstrous epic "The Rover" -- are louder and more extended and textured than their previous work. Also, all of the heavy songs are on the first record, leaving the rest of the album to explore more adventurous territory, whether it's acoustic tracks or grandiose but quiet epics like the effect of "Ten Years Gone." The second half of Physical Graffiti feels like the group is cleaning the vaults out, issuing every little scrap of music they set to tape in the past few years. That means that the album is filled with songs that aren't quite filler but don't quite match the peaks of the album, either. Still, even these songs have their merits -- "Sick Again" is the meanest, most decadent rocker they ever recorded, and the folky acoustic rock & roll of "Boogie with Stu" and "Black Country Woman" may be tossed off, but they have a relaxed, off-hand charm that Zeppelin never matched. It takes a while to sort out all of the music on the album, but Physical Graffiti captures the whole experience of Led Zeppelin at the top of their game better than any of their other albums. AMG.

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Totem - Totem 1971

The group was initially formed by Rubén Rada, Eduardo Useta, Enrique Rey, Mario "Chichito" Cabral, Roberto Galletti, and Daniel Lobito Lagarde. With the exception of the last one (who was only 19 years old), they were all musicians with extensive experience in Uruguayan music. The group's name was proposed by "Chichito" Cabral in a group rehearsal. According to him, on a trip to Hamburg, he saw a bright sign that said "Totem". He thought it might be an abbreviation for "Todos tenemos musica" ("We all have music") and promised himself that if he ever got a group together, that would be the name.

The band's first rehearsals were held at the end of the 1970s. Its first public performances were in January 1971: the 6th at the Clube da Universidade de Salto (in a dance for the youth of the Communist Party), the 7th at the Wanderers stadium, in Paysandú and the 20th in Montevideo, at Segundo Concierto de la Rosa (where the band plays alongside Psiglo and Syndikato). His performance in February at a festival in Parque Harriague, in Salto, is also well remembered.
The first album, "Totem", was recorded on May 2, 1971, at ION studios in Buenos Aires and published in July by the De la Planta record label. Although there are songs by Rey, Lagarde, and Cabral, many of the compositions are written by Rada and Useta (as co-authors or individually). The album was presented on July 14th at the El Galpón Theater, in a performance with Camarata de Tango. This first work was very well received both in sales (with more than three thousand copies sold in his country) and in reviews. At the end of 1971, it was already one of the groups that most people called for in Uruguay, filling all the scenarios in which it was presented. This is due not only to the good reception the group received but also to the precise marketing management carried out by manager Alfonso López Domínguez.

By 1972, the group had established itself as the most popular in Uruguay (perhaps along with Los Iracundos). That year, they were filmed by RAI for a television program about Latin American music and were presented in Pipo Mancera's successful circular Saturdays. The group's second album, titled "Descarga", was recorded in the same studio as the first album. There are compositions on this album by Rada, Lagarde, Cabral, and Useta: the last song is written by the entire group. This album is also a sales success, although the opinions of music critics are not as good as those of the debut LP. The album was released in Casapueblo (without having yet been released) and without the presence of Galetti on drums, replaced by Santiago Ameijenda. The second performance of the album (newly released) was held on July 9, 1972, at the Teatro Solís, filling the place (there were even more than a thousand people without tickets waiting outside the theater).
At the end of 1972, mainly due to the country's socio-political situation (in the prelude to the Coup d'état), the group's shares began to decline. Rubén Rada and "Lobito" Lagarde left the band, joining the first line-up of Gula Matari (a group that only had a few recitals at the beginning of 1973). Roberto Giordano (bassist) and Tomás "Chocho" Paolini (who played saxophone, flute, and clarinet) joined the group. The group's first voices became those of Useta and Rey.

In January 1973, they recorded their third and final album, "Corrupción". Of the eight songs on the album, six are written by Useta, one by Cabral, and one by Rey. Although it is an album respected by the public and critics, Rubén Rada's absence was too noticeable to be ignored and the group began to lose popularity.

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Gal Costa - Gal Costa 1969

A lot changed between Gal Costa's pleasantly straightforward 1967 debut Domingo and her eponymous follow-up two years later. Domingo, also a debut for young Brazilian songwriter Caetano Veloso, featured a set of airy, somewhat standard bossa nova tunes, sung ably by Costa. Mere months after the release of this relatively safe debut, however, Costa and Veloso found themselves alongside Os Mutantes, Tom Zé, and Gilberto Gil, recording contributions to Tropicália: Ou Panis et Circencis, the unofficial manifesto of the Tropicalismo movement. The compilation dove headfirst into avant-garde experimentalism, embracing the psychedelic tendencies happening in American underground circles, and the politically charged energy of radical dissent to Brazil's ongoing military dictatorship. This wild new hybrid of Brazilian pop and far-reaching outside influences resulted in something instantly miles away from everything that came before it, and Costa's self-titled Tropicalismo debut is no exception. The album begins with a flutter of psychedelic echo effects, dissolving into gloriously lush string arrangements and lighthearted organ on "Nao Identificado," a brilliant opening track that introduces Costa's velvety voice, gently at first, as if to ease the listener into the new sounds about to be revealed. Softly glowing chamber pop arrangements like "Lost in Paradise" melt into unchained grooves and buzzing fuzz guitar bug-outs like the Gilberto Gil-aided "Namorinho de Portão" and the child-like singsonginess of "Divino Maravilhoso." The echo-heavy productions, patient strings, and gorgeously floating melody of "Baby" drive the album to its brilliant summit, offering a perfect articulation of the pensive, sexy, strange, and above all else, sunny blur that Tropicalismo was, even in its very beginnings. AMG.

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Goose Creek Symphony - Words Of Earnest 1972

Goose Creek Symphony's frontman Charles Gearhart continues his admirable imitation of the Band's warm country rock on their second album, Words of Earnest. The opening track, "Gearhart and God," finds the singer good-naturedly pleading with the man upstairs for help writing a song, promising to split the royalties 50/50. The whole album is full of slightly tongue-in-cheek stories about fishin' holes and the good life livin' in the country, each warmly backed by Fred Wise's loose fiddle or the occasional Dixieland/Salvation Army brass band. Similar to a lot of the Grateful Dead's more countrified stuff, these down-home rockers make for great summertime porch music. AMG.

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Los Shakers - La Conferencia Secreta del Toto's Bar 1967

The concept of a Uruguayan band in the mold of the Hard Day's Night-era Beatles may seem absurd, but it did happen in the mid-'60s. What's more, the Shakers (sometimes billed as Los Shakers on their releases) were fairly successful in mimicking the jangle of the early Beatles sound, writing most of their material with a decent grasp of the British Invasion essentials of catchy tunes and enthusiastic harmonies. While the grammar is fairly broken and pidgin, soundwise the Shakers were actually superior to many of the bona fide Mersey groups; if you like the Beatles sound as heard on tracks like "I Should Have Known Better" or "I'll Be Back," you'll like this stuff. Popular in their native land, the Shakers were understandably unable to compete on an international scale, although their 1966 album, Break It All, was actually issued in the States. Today they enjoy respect from hardcore '60s collectors, and much of their material is available on reissues. Despite the reasonable availability of some of their material to international audiences on reissues, the details of the Shakers' career remained pretty mysterious until Alec Palao's detailed liner notes to their 2000 CD reissue Por Favor. The group was formed by brothers Hugo Fattoruso (lead guitar, keyboards) and Osvaldo Fattoruso (rhythm guitar), who as a team wrote most of their material. Like so many combos around the world, the specific motivation to form the group came from watching the Beatles' movie A Hard Day's Night. The band remained extremely influenced by the Beatles throughout their career and were in fact not too aware of or interested in the work of other British Invasion groups. Signed to a deal by EMI/Odeon in Argentina, they issued their first single, "Break It All," in 1965. The band became very big in both Uruguay and Argentina and also toured in several other South American countries.

There was never a concerted effort on the band's part to invade the English-speaking market, and they never played in North America. However, a small New York label, Audio Fidelity, took the unusual step of issuing a Shakers album, Break It All, in the States in early 1966. This LP actually consists mostly of re-recordings (and good ones) of songs from their debut Uruguayan long-player, as well as songs that had appeared on singles. For this album, Osvaldo Fattoruso ended up singing a bunch of tunes that his brother Hugo had sung, perhaps because Hugo's voice was in hoarse shape. So although this is the album that fans outside of South America are most likely to be familiar with, it actually doesn't contain the original versions from the Shakers' early repertoire, although most of those songs from the original (South American) Shakers debut LP are now included on Ace's Por Favor reissue.

The Shakers continued to follow the Beatles' lead through 1968, introducing Revolver-like guitars and backward effects, and then some Magical Mystery Tour-type psychedelia, as well as some occasional influence of their native South American rhythms and musical styles. While it's usually obvious where the inspiration is coming from, the level of writing, playing, and harmonies remained quite respectable through their third and final album, 1968's La Conferencia Secreta del Toto's Bar. The Shakers broke up toward the end of the 1960s, with the Fatturoso brothers recording an album for Odeon in 1969 before moving to the United States for a few years to work with Airto Moreira, and then forming the Latin rock group Opa. Drummer Caio Vila and bassist Pelin Capobianco, with a couple of Capobianco's brothers, recorded a 1971 album, and in 1981 the Fatturoso brothers did a reunion album with the Otroshakers. AMG.

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Colwell-Winfield Blues Band - Cold Wind Blues 1968

One of the forgotten classics of the late-'60s American blues scene, the Colwell-Winfield Blues Band once opened for Led Zeppelin, and that would appear to be their greatest claim to fame -- until you play the group's debut album, a hulking slab of blistered fusion that packs some of the most intriguing arrangements of the age. It features some of the most surreal imagery as well: "Paper bags hold degenerate dreams, fill my world with unnatural scenes," bellows the aptly named Moose Sorrento during the opening "Free Will Fantasy." And so the Colwell-Winfield Blues Band got on with proving what a lot of people had been saying all year long -- that the best jazz-rock-blues band of 1968 was only getting better. The finest moments are those when the band really stretches out -- seven minutes apiece for the 12-bar "Got a Mind" and the showcase "Govinda," and eight for "Dead End Street," a slowly percolating rhythm that is only gently layered by the rest of the band. The briefer cuts burn fiercely, though, while the Akarma reissue in 2001 appends a bonus track that is actually one of the finest things in sight, the frantic semi-psychedelic experimentation of "Wind Is Singing." AMG.

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Raul Seixas - Krig-ha, Bandolo! 1973

Raul Seixas was a fundamental rocker in Brazil. Along with his expressive discography, whose hits continue to be re-recorded by Caetano Veloso, Margareth Menezes, and others, Seixas' role in continuing the work of establishing the foundation of Brazilian rock was of first importance. 

In 1973, the second LP, Krig-ha, Bandolo, brought Seixas' first big hit as interpreter, "Ouro de Tolo." The album also had other important songs, such as "Al Capone," "Mosca na Sopa," and "Metamorfose Ambulante." The duo also produced one hit after another with "Gitâ" (from the eponymous LP from 1974), "Tente Outra Vez" (from Novo aeon, 1975), "Eu Nasci Há dez Mil Anos Atrás" (1976), "Maluco Beleza," and "O Dia Em que a Terra Parou" (the latter two from the first WEA album O Dia Em que a Terra Parou, 1977, the latter becoming the anthem of hippiedom in Brazil). AMG.

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Q'65 - Afghanistan 1970

Formed in 1965 in The Hague (The Netherlands), they made their recording debut with 'You're The Victor', a wild, rhythmic track inspired by the Pretty Things. It was succeeded by the equally compulsive 'The Life I Live', a searing slice of R&B. Q'65 traveled to London to promote this release but, having been denied work permits opted to turn the visit into a promotional tool. They returned to The Netherlands on a rubber lifeboat, taking almost 12 hours to cross the Channel. Upon landing at the Scheveningen Pier, the group was greeted by almost 30,000 cheering fans who were rewarded with an open-air concert. The menacing 'I Despise You' was followed by 'Revolution', their 1966 debut album, which blended original material with R&B standards, notably a 13-minute version of Sonny Boy Williamson's 'Bring It On Home'. In 1967 they released the 'Kjoe Blues EP'. They were into soft drag, and their sound changed. In 1968 Wim was drafted into the army. This marked the end of the first Q65 era. They regrouped in 1970 with a new album called 'Afganistan'. In 1971 Q'65 released their third and final album 'We Are Gonna Make It'. The sound was different from their early era, more psychedelic.

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Finch - Glory of the Inner Force 1975

Considered by many to be one of the more overlooked progressive rock groups, Finch was a Dutch instrumental band that recorded three albums in the 1970s. The group consisted of guitarist Joop Van Nimwegen, keyboardist Paul Vink, Peter Vink (bass), and Beer Klaasse (drums). Combining symphonic progressive edge with a jazzy rhythm section, Finch debuted with Colossus, Pt. 2 in 1975. The much-lauded Glory of the Inner Force (1975) followed. Paul Vink then left the group to be replaced by Cleem Determeijer. The band's third record, Beyond Expression (1976), consisted of three extended pieces. At around the same time, Klaasse left the group to be replaced by Hans Bosboom briefly and then by Fred van Vloten while Determeijer was replaced by Ad Wammes. While containing some less developed shorter material, Galleons of Passion (1977) found the band continuing to record exciting progressive fusion and experimenting with a spacier side. AMG.

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Eduardo Mateo - Mateo Solo Bien Se Lame 1972

Eduardo Mateo (1940–1990) was a Uruguayan singer, songwriter, guitarist and arranger. He played a key role in the development of the modern Uruguayan music mixing beat, jazz, bossa nova, and local rhythms like candombe, in a way similar to Brazilian Tropicalismo. Eduardo was also a founder member of the group El Kinto. Musicians like Academy Award winner Jorge Drexler cited Mateo as a big influence.

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Fred - Notes On A Picnic 1974

Formed from a group of students at Bucknell University in eastern Pennsylvania in the late 1960s, Fred was a short-lived collective of New Englanders who embraced the progressive and psychedelic experience of that era. After college the group lived a communal existence while continuing to work the band, recording sporadically and performing live in regional venues. The band dissolved in 1974 but the discovery of their music early in the 21st century led to the release of originally recorded studio and live material from their heyday, released in the form of two studios and one live album.

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