Osibisa - Black Magic Night Live at The Festival Hall 1977

Recorded on July 19, 1977, this double LP (reissued as a two-CD set) contained live versions of songs that appeared on several of their 1971-1977 albums, as well as one ("Living Loving Feeling") that only came out as a single. Osibisa, who anticipated many of the features of the worldbeat sound, cover a lot of ground on this lengthy set -- maybe too much for some tastes. Sometimes the material gets close to traditional African music in its rhythms and chanting; at others, it nearly treads on jazz fusion territory, though not in a bad way. And while Osibisa singer and multi-instrumentalist Teddy Osei says in the liner notes that the band wasn't influenced by Santana, the Afro-Latin rhythms and chant-style vocals in some of the songs certainly remind you of Santana, though again not in an objectionable fashion. There's also some Rahsaan Roland Kirk-style flute playing, and a rendition of their substantial 1976 British hit "Sunshine Day" that finds them at their most pop-friendly. While they might not have been the most innovative or original of these kind of groups, overall this is a lively document of an ensemble that fused African, soul-funk, and some Latin and jazz elements when that sort of mixture was far less accessible outside Africa than it would be in subsequent decades. AMG.

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Maypole - Maypole 1970

The Story of Maypole was about freedom, people being natural, true to themselves and the others around them. We told the truth about things and what we saw. The beauty, the ugliness, the injustice, of the times.The plight of hungry hearts on their journey seeking to find true happiness. Maypole was not a typical group. Our approach was artistic and on a spiritual level. Demian's guitar style has been compared to Jimi Hendrix,Frank Marino, and Carlos Santana. The reality is, that Demian was playing just as long as the afore mentioned players. His influences were what was going on around him. The hardships of his early life made him sensitive and thoughtful about life.He was run over by a bus in Baltimore when he was just 4 years old and suffered severe injuries. Long rehabilitation helped to build his concentration, endurance and his character. His ability to make his guitar sound in so many different ways is what made the guitar interesting for him. A way to express himself with no boundaries.He lives in Germany at the moment,where his new version of The Maypole is based. Dennis Tobell- Under the stage name of Denny Romans, later to be known as Demian Bell. Principle writer and Lead Guitarist and Vocals. Born near Chicago, to a show business Father and Mother, grew up in Maryland, Ohio, and California. First started piano at age 7, then guitar at 13. First professional gig at 14, with 'The Rogues' at the Gold Horse Saloon in Folsom California. He was a member of 'The Moss' a Baltimore Blues band that won many competitions known as 'Battle of The Bands' at 15. He founded the 'Psychedelic Propellor' at 16, in Baltimore Md. Played with 'Van Morrison' and 'Moulty and the Barbarians' at 18 and 'Maypole' when 20, with Paul Welsh. Paul Welsh- Drummer and writer and co-founder with Dennis Tobell. Born in Frankfurt Germany, to a French mother and American father. Raised in Towson , Maryland. A brilliant student in History, Literature, Languages and music. His first love was music as he saw it, as a tremendous way to communicate with the masses. Playing drums since age 10, he first played with 'The Paupers', 'Daddy Warbucks'and then with 'Maypole' Paul commited suicide in 1988. Steve Mace- Writer, singer and second guitarist. Born in Baltimore, raised in Towson , Paul and Steve were next door neighbors all their lives. He also was a member of the 'Paupers', 'Daddy Warbucks', before joining 'Maypole' Kenny Ross- Singer, songwriter. Born in Baltimore and grew up in the Govans area of Baltimore. Kenny was also a member of 'The Paupers' with Paul and Steve. Kenny passed away in May 2005. John Nickel- Bass Guitar was born in Baltimore, was from the Essex area of Baltimore, and played in many area bands before joining 'Maypole'. AMG.

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The Monkees - Head 1968

This disc contains songs and snippets of dialogue from the Monkees' full-length feature film of the same name. Although their Emmy-winning television program had been cancelled in the spring of 1968, the quartet quickly regrouped and, with the assistance of budding actor/director Jack Nicholson, created a 90-minute surreal cinematic experience -- replete with matching soundtrack. Without question, both the movie and album are the most adventurous and in many ways most fulfilling undertaking to have been born of the Monkees' multimedia manufactured project. The music featured on both the screen as well as this album is a long strange trip from the Farfisa-driven bubblegum anthem "I'm a Believer." Perhaps even more telling is that Head became the first Monkees long-player not to include a Tommy Boyce/Bobby Hart composition. As such, the talents of each member are uniquely showcased -- especially those of Peter Tork, whose contributions were previously too few and far between. Ironically, his acid rocker "Long Title: Do I Have to Do This All Over Again" and Eastern-flavored "Can You Dig It?" are not only among the best of the six original compositions on the soundtrack, but also among his finest Monkees offerings, period. Other notable tracks include Micky Dolenz's vocals on two Carole King works: the ethereal "Porpoise Song," which was co-authored by Gerry Goffin, and the Toni Stern collaboration on the pastoral "As We Go Along." AMG.

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Aardvark - Aardvark 1970

Unfortunately, the few times short-lived British prog outfit Aardvark's name ever comes up, it's usually due to their rock footnote status: guitarist Paul Kossoff and drummer Simon Kirke were in an early version of the band before they went on to fame and fortune with Free. But when Aardvark's lone, self-titled album was released in 1970, the group hadn't even bothered to replace Kossoff, opting instead for a vocals/keys/bass/drums lineup and going for the kind of organ-led sound that had already been proven viable in an early prog context by the Nice. Aardvark's approach -- while bearing some surface similarities to the Nice -- is much less classically influenced, bearing more of a jazz/blues/R&B base, and the harder edge they achieve on a number of tracks puts them more in the company of Atomic Rooster (of course, Atomic Rooster's Carl Palmer had just joined with the Nice's Keith Emerson to form ELP by this time, but that's another story). In fact, the album's opening track, "Copper Sunset," boasts a heavily fuzzed-out organ riff that resembles nothing so much as the hard-rocking sound Jon Lord was developing at the time with Deep Purple. The album closes out with the aptly titled "Put That in Your Pipe and Smoke It," a wild instrumental free for all that finds everyone -- other than singer Dave Skillin -- pushing the proverbial pedal to the floor, and inspires tantalizing questions about what might have been if Aardvark had only lasted just a bit longer. AMG.

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Keith - 98.6 / Ain't Gonna Lie 1967

Remembered for his 1967 Top Ten smash "98.6," singer Keith was born James Barry Keefer in Philadelphia on May 7, 1949. According to legend, he earned his first record deal with Columbia after camping out on the doorstep of A&R executive Jerry Ross; the resulting single, 1966's "Caravan of Lonely Men," was credited to Keith and the Admirations. When Ross moved to Mercury Records he took Keith with him, and the singer soon cracked the Top 40 with his solo debut, "Ain't Gonna Lie; " "98.6" reached the number seven position in the first week of 1967, but except for one last Top 40 entry -- "Tell Me to My Face" -- he never again appeared on the U.S. charts. After his 1968 sophomore LP Out of Crank failed to create public interest, Keith signed to Frank Zappa's Discreet label to issue the single "In and Out of Love"; after one final album, 1969's RCA release The Adventures of Keith, he retired from performing, briefly attempting an unsuccessful comeback during the mid-1980s. AMG.

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999 - High Energy Plan 1979

Like the highly influential Buzzcocks, 999 epitomized the pop side of British punk in the late '70s. High Energy Plan owes its snarling, bratty, in your face attitude to the Sex Pistols and the Clash, but unlike those bands, 999 doesn't bring a heavy political agenda to the table. This LP (which came out in the U.S. in 1979) is an exercise in wild, raucous fun, and hook-laden gems like "Homicide," "High Energy Plan," "Let's Face It," and "Rael Rean," which are the essence of pop-minded punk. If, in the late '70s, you thought that punk and power pop were mutually exclusive, 999 was among the bands that could set you straight (much like the Buzzcocks, the Ramones, and the zany Dickies). And High Energy Plan doesn't get all of its inspiration from punk or new wave; the 1960s British Invasion rock of the Kinks and the Rolling Stones certainly had an impact on 999. Produced by Martin Rushent, High Energy Plan is among the band's finest albums and is essential listening for lovers of early British punk. AMG.

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Rust - Come With Me 1969

An Australian ("Creepy" John Thomas) and two English guys (Walt Monaghan and Brian Hillman) who got together in Germany, playing at Army bases in the Rhineland. They also got to record a fun psychedelic album, that was partly borderline pop and pastiche, and also nudged towards the underground. 

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