Cooley & Munson - In Debt 1972

In Debt" is a major collectable item with the folk-rock and psychedelic rock listeners and collectors. Today, original copies of this record fetch quite interesting sums when changing hands in record fairs or internet auctions.
All tracks are original compositions, and the style is very personal. It's folk-rock, but many tracks are quite psychedelic too. But don't look close for influences, they will not come to mind that easily. Bill and Alan had their own psychedelic folk-rock style.
Never reissued before in any format, now here we come with a splendid reissue. Remastered sound taken from the original mastertapes. A must!

Bill Cooley and Alan Munson were two friends in Santa Barbara, California, living their early twenties writing folk-rock songs for their pleasure. That was 1972, and they decided to put these songs into studio, autoproduce the album and press a tiny quantity of 500 pieces hoping it could help getting a contract with a major company. This never happened, as you would have guessed, and sure this fact helped making their sole album, "In debt", a major collectable item in the folk-rock and psychedelic rock listeners and collectors. Today, original copies of this record fetch quite interesting sums when changing hands in record fairs or internet auctions.
Being a private pressing, you can easily imagine its not a big production, but no care. This album has the right feel and you wont need anything else to make it one of your recent faves. All tracks are original compositions, and the style is very personal. Its folk-rock, but many tracks are quite psychedelic too, in their own way. But dont look close for influences, they will not come to mind that easily.. Bill and Alan had their own psychedelic folk-rock style, and the raw, sometimes amateurish feel that these recordings have, give the album the final distinctive touch. Never reissued before in any format, now here we come with a splendid reissue, with the collaboration of the guys. Remastered sound taken from the mastertapes, and including an insert with linernotes and unseen pictures.
CD version comes with booklet and outer slimcase.
Alan Munson kept going the folk-rock way and released two solo albums during the 70s too, which we are also re-releasing along with "In debt".

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Keith & Donna - Keith & Donna Godchaux 1975

The intricate and varied musical and personal relationships that formed in the late-'60s/early-'70s cultural scene spewed forth plenty of fertile collaborations. However, as unmystical as it sounds, it was merely a matter of timing in the case of Keith Godchaux and the Grateful Dead as their then keyboardist, Ron "Pigpen" McKernan, was about at the tail end of the physical ravages of alcoholism. Born July 19, 1948, in San Francisco, CA, Godchaux grew up in Concord with a father who was a professional pianist and singer. Godchaux was trained in classical music at a young age, but spent his teen years performing at country clubs and in various bands; his earlier musical attempts tended to lean more toward jazz than rock & roll. While bumming around the California music scene in 1970, he met Donna Jean Thatcher and they married shortly afterward. Plenty of musical opportunities abounded during that time and Godchaux made the rounds. He was drawn to one band in particular --the Grateful Dead -- and one day decided he wanted to be in the band. Not knowing the band's own keyboardist, Ron "Pigpen" McKernan, was falling ill, his timing was sadly convenient for both parties. He joined on to play keyboards and sing and soon after, his wife was asked to join as well, and they stayed on from October 1971 to February 1979. The band, at the time, consisted of Jerry Garcia(guitar, vocals), Bob Weir (guitar, vocals), Phil Lesh (bass), Bill Kreutzmann (percussion), Mickey Hart (percussion), and the ailing Pigpen (keyboards).
Aside from studio efforts, the two survived the Wall of Sound days the whole band endured for the sake of the stereophonic pleasure of their fans. Godchaux took on side projects as well, appearing on David Bromberg's 1972 release Devil in Disguise and played on Weir's Ace from that same year, among others. As for Dead studio albums, he can be found on the band's first effort on their newly formed record label, (Grateful Dead Records) Wake of the Flood(1973) and 1975's Blues for Allah. Live releases featuringGodchaux abound, whether they be bootleg or otherwise. While the Grateful Dead went on hiatus in 1975, he and his wife formed a self-titled band and released one self-titled album that year. The two got some backup help from Garcia, who also contributed a drawing to the cover of the album that featured a photo of the Godchauxs' infant son Zion. The album featured the Godchaux-penned tunes "Sweet Baby," "Every Song I Sing," and "My Love for You," among others. When the band reconvened, the two went on tour and even made the 1978 trip to Egypt to be the first rock & roll band to play in front of the Sphinx. In 1979, the Godchauxs and the other bandmembers decided it would be best if they left the band. The constant touring and drug-addled lifestyle had taken their toll on the couple, so they parted ways. He and Donna soon organized the Heart of Gold Band, which included guitarist Steve Kimock, Greg Anton, and various other musicians and technicians credited on the few releases of live and studio recordings. Tragically, after only one concert, Keith Godchaux was killed in a car accident on July 23, 1980, in Marin County, CA.

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NRBQ - Workshop 1973

Originally titled Age of Aquariums, Workshop became the first album to feature what is considered by many to be the "classic quartet" version of NRBQ. This incarnation incorporated the talents of bandleader Terry Adams (keyboard/coronet/trumpet), Joey Spampinato (bass/guitar/sax/vocals), Al Anderson (guitar/vocals), and, in his final studio appearance with the band, Tom Staley (drums). Although they had been performing with an evolving makeshift horn section -- which could (and often would) include coronet/trumpet player Terry Adams and saxophonist Joey Spampinato -- this disc also debuts the semi-permanent Whole Wheat Horn section, consisting of Terry's brother Donn Adams on trombone and Keith Spring on sax. The shift in personnel served the 'Q well, as Workshop was lauded and raved about by enthusiasts as well as pop music critics. Producer Eddie Kramer was able to further enhance the band's practically indefinable style, ranging from the undeniable Paul McCartney-influenced Spampinato rocker "Deaf, Dumb and Blind" to the understated grace and complex rhythmic syncopation of Terry Adams' "Miss Moses." Another Spampinato gem is the organic pop ballad "Mona." Instrumentally, the track is notable for Terry's accordion accents, as well as the conspicuous absence of drums. In addition to the copious originals, the guys revived the C&W-tinged "Blues Stay Away From Me," which had actually been recorded for inclusion on their previous long-player, Scraps. Likewise, their second stab at Brownie McGhee and Sonny Terry's "Come On If You're Comin'" reinforced the popularity of the track, which became a performance and enthusiast favorite. A similar fate would befall the 'Q's unofficial anthem -- the down-home rockabilly rave-up "RC Cola & a Moon Pie." Sadly, Workshop was never reprinted, although several notable compilations such as RC Cola & a Moon Pie (1986) have included key tracks. AMG.

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Keith Tippett's Ark - Frames 1978

Several years after his great success with the huge ensemble Centipede and its Septober Energyrelease, pianist Keith Tippett returned to the large-group format with his newly formed Ark. This band, a mere 22 strong, was less rock-influenced and arguably more "mature" musically, that is, quite capable of handling the diverse demands placed on it, which covered ground from richly arranged written portions to incisive free improvisation. One of the motifs tying this work (which is a single composition spread over four sides of the original LP) is the dual presence of vocalists Maggie Nicolsand Julie Tippetts (the latter possessing one of the truly beautiful voices in avant-garde jazz), their twinned vocal lines serving as fine structures around which to erect woollier passages. Also as before,Tippett deploys small groups within the larger ensemble, for example a percussion duet that's soon joined by violin and soprano saxophone. These little "nuggets" within the orchestra provide a healthy degree of differentiation as well as connecting nodes between more fully massed sections. As such, "Frames" is essentially suite-like, with anthemic melodies like the one that begins side three abutting jagged, free lines that dissolve into group interplay standing alongside pulsing minimalist patterns. It's not really so much about the soloists, although there is much fine individual playing to be found, notably the leader's piano (and that of Stan Tracey), the alto work of Trevor Watts, and the bass playing of the late, great Harry Miller. Listeners who have enjoyed Barry Guy's London Jazz Composers Orchestra or Chris McGregor's Brotherhood of Breath will find themselves right at home here. Recommended. AMG.

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Joe Soap - Keep Ît Clean 1973

Another excellent album provided by ChrisGoesRock. Excelent UK Progressive Folk Rock obscurity, which also should be enjoyed by fans of US Westcoast. Great album, featuring fantastic guitarwork by one of the most underrated 70's guitar players, the late Jimmy McCulloch (Thunderclap Newman, Stone The Crows, Wings...), as well as excellent violin solos by Mik Kaminski (ELO) and of course great songwriting by John Tennent and David Morrison.
Joe Soap were a band comprising of John Tennent and David Morrison. They had previously released one album prior to using this name, “Tennent / Morrison” (Polydor 1972).
Their second album, (and only one as Joe Soap) “Keep It Clean” (Polydor 1973) enhanced this core lineup with contributions from Jerry Conway (Jethro Tull), Jimmy McCulloch (Stone The Crows), Mike Kaminski (ELO) and Jeff Pearce. Itwas produced by Sandy Robertson.
Joe Soap was a band comprised of John Tennent and David Morrison. Their second album, "Keep It Clean" (as Joe Soap) (Polydor 1973) featured Jimmy McCulloch (guitar, Stone the Crows) Jerry Conway (drums, later in Jethro Tull) and Mike Kaminski (violin, from ELO). The album features ten tracks composed by John and David with help of Sandy Roberton (producer). Two guys with rather thick but fascinating voices diffuse strong masculine beauty in all tracks. In addition to it, a mastermind violinist Mik Kaminski's scattering violin features on most of the tracks especially on Feel Strange and On The Wing are just superb. Jimmy McCulloch's intense guitar domains on every track as well. Overall, the album is an awesome combo set of typical British rock classics with strong American southern rock flavor. Both "Tennent & Morrison" and "Keep it Clean" are now extremely rare and occasionally surface on the collectors' market, both fetch around §500 for "Tennent & Morrison" and §250 for "Keep it Clean". Thanks ChrisGoesRock.

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Noir - We Had To Let You Have It 1971

Well this "71 album released by this 4 piece outfit is a marvellous album of soulful prog like material,it contains 8 tracks with 2 songs only under the 5 minute mark,dont let that put you off as no track outstays its welcome,it really is fabulous mix of guitar, piano, floating organ, bass and heavenly soulful vocals and nice harmonies!! In my opinion the only weak spot is a cover of "Indian Rope Man",but even that isnt too bad!! Its hard to pick out tracks as faves as the other 7 tracks are so damn good,so i'll just leave with giving this album an 8 out of 10 mark,definitely an album worth searching out!

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Northwind - The Woods Of Zandor 1974

Northwind first formed as far back as 1968. Jan Stepka(keyboards) and Roland Ernest(guitars,keyboards,vocals) along with drummer Steve White were influenced by the likes of Procul Harum, The Doors, ELP and King Crimson. These influences give an organic sound to their music with heavy laden guitar riffs, organ and keyboards dominating proceedings. 1970 saw the birth of rock opera 'Looking Back' and in '72 the band recorded an untitled demo. 
Tom Iacaboni replaced WhiteE on drums and in 1974, the band unofficially released a demo album which for the sake of discography purposes was called 'Woods of Zandor'. In '78 they competed the project 'Distant Shores' but only one song - "Just Yesterday" - ever officially saw the light of day on local radio stations.
The band underwent several more line up changes up to 1978 when they disbanded, failing to land a recording contract. Their sound is worth seeking out and can be sampled on their website. Progarchives.

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Mr. Albert Show - Mr. Albert Show 1970

Dutch band Mr. Albert Show, apparently named after a roadie, was formed in 1969 by Bertus Borgers (saxophone, flute, vocals), Roeland Boogaart (drums), Tom Fautubun (bass), Eric Lintermans (guitars) and Bonki Bongaerts (organ). Strengthened by the vocal talents of Floortje Klomp they make their debut with the single "Wild Sensation" in 1970, followed by their full length debut album "Mr. Albert Show" later the same year. The following their sophomore effort "Warm Motor" appeared, while the non-album single "Show Me Your Tongue" was released in support of it. This would prove to be the final release by this short-lived band, who disbanded in 1973 following the departure of Bertus Borgers. Progarchives.

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Steppenwolf - Monster 1969

The group's most political album, tackling then-current issues such as the Vietnam War, draft resisters, and the decay of justice in America. These were (and are) important topics, but these lumbering hard rock tunes were not an effective means to address them, politically or musically. It's hard to make agitprop and pop mix, but even judged simply within the context of Steppenwolf's records, it lacks memorable compositions, the unexceptional tunes burdened by lyrics that are too heavy-handed. AMG.

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Mother Earth - Make A Joyful Noise 1969

Make a Joyful Noise is the follow-up to 1968's Living With the Animals. This time out, Mother Earthneatly divided their joint appreciations for rural and urban American music: à la the thematic "City Side" and "Country Side." The City Side is an R&B workout, powered by a robust horn section and the vocals of Rev. Ron Stallings on burning soul cuts such as "Stop That Train," Tracy Nelson's killer performance on Naomi Neville's cooker "What Are You Trying to Do," and sultry read of Little Willie John's babymaker "Need Your Love So Bad." The Country Side is more subdued, adorned by steel guitars and Powell St. John's quavering vocals on "I'll Be Moving On" and the strange "The Fly."Nelson's version of Doug Sahm's "I Wanna Be Your Mama Again" is her blues-country gospel version of Hank Williams' honky tonk nugget "You Win Again" (with a fine fiddle solo by Johnny Gimble). Some of the guest stars on this set include Boz Scaggs, Hargus Robins, Ben Keith, D.J. Fontana, and Pete Drake. Make a Joyful Noise remains an overlooked classic from the Warner Brothers catalog that finally saw CD issue in 2004 by Wounded Bird. AMG.

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Steve Cropper - With a Little Help from My Friends 1971

After years of being a team player, Steve Cropper got to make a solo album for the label he helped put on the map, Stax Records (actually their Volt subsidiary). As you might figure, it turned out as an instrumental soul album, and a darn good one, too. It's a bona fide Telecaster-soaked dance workout, with Cropper turning in signature versions of "Land of a Thousand Dances," "99 1/2," (which features a particularly nasty period fuzz guitar), "Funky Broadway," "Boo-Ga-Loo Down Broadway," "In the Midnight Hour," and original instrumentals like "Crop Dustin'" and the closer "Rattlesnake." A solid and soulful little side project that holds up quite well years later. AMG.

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Jose Feliciano - Memphis Menu 1972

One of the most prominent Latin-born performers of the pop era, singer/guitarist Jose Feliciano was born September 10, 1945, in Lares, Puerto Rico; the victim of congenital glaucoma, he was left permanently blind at birth. Five years later, he and his family moved to New York City's Spanish Harlem area; there Feliciano began learning the accordion, later taking up the guitar and making his first public appearance at the Bronx's El Teatro Puerto Rico at the age of nine. While in high school he became a fixture of the Greenwich Village coffeehouse circuit, eventually quitting school in 1962 in order to accept a permanent gig in Detroit; a contract with RCA followed a performance at New York's Gerde's Folk City, and within two years he appeared at the Newport Jazz Festival. After bowing with the 1964 novelty single "Everybody Do the Click," he issued his flamenco-flavored debut LP The Voice and Guitar of Jose Feliciano, trailed early the next year by The Fantastic Feliciano.
Unhappy with the direction of his music following the release of 1966's A Bag Full of Soul, Feliciano returned to his roots, releasing three consecutive Spanish-language LPs -- Sombras...Una Voz, Una Guitarra, Mas Exitos de Jose Feliciano and El Sentimiento, La Voz y La Guitarra de Jose Feliciano -- on RCA International, scoring on the Latin pop charts with the singles "La Copa Rota" and "Amor Gitana." With 1968's Feliciano!, he scored a breakthrough hit with a soulful reading of the Doors' "Light My Fire" that launched him into the mainstream pop stratosphere; a smash cover ofTommy Tucker's R&B chestnut "Hi Heel Sneakers" solidified his success, and soon Feliciano found himself performing the national anthem during the 1968 World Series. His idiosyncratic Latin-jazz performance of the song proved highly controversial, and despite the outcry of traditionalists and nationalists, his status as an emerging counterculture hero was secured, with a single of his rendition also becoming a hit.
In 1969 Feliciano recorded three LPs -- Souled, Alive Alive-O, and Feliciano 10 to 23 -- and won a Grammy for Best New Artist; however, he never again equalled the success of "Light My Fire," and only the theme song to the sitcom Chico and the Man subsequently achieved hit status, edging into the Top 100 singles chart in 1974. Throughout the 1970s Feliciano remained an active performer, however, touring annually and issuing a number of LPs in both English and Spanish, including 1973's Steve Cropper-producedCompartments; he also appeared on the Joni Mitchell hit "Free Man in Paris," and guested on a number of television series including Kung Fu and McMillan and Wife. In 1980 Feliciano was the first performer signed to the new Latin division of Motown, making his label debut with an eponymous effort the following year; his recorded output tapered off during the course of the decade, although he occasionally resurfaced with LPs including 1987's Tu Immenso Amor and 1989's I'm Never Gonna Change. A school in East Harlem was renamed the Jose Feliciano Performing Arts School in his honor; in 1996, he also appeared briefly in the hit film Fargo. AMG.

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Lester Bowie - African Children 1978

From the 1970s until his death in 1999, Lester Bowie was the preeminent trumpeter of the jazz avant-garde -- one of the few trumpet players of his generation to adopt the techniques of free jazz successfully and completely. Indeed, Bowie was the most successful in translating the expressive demands of the music -- so well suited to the tonally pliant saxophone -- to the more difficult-to-manipulate brass instrument. Like a saxophonist such as David Murray or Eric Dolphy, Bowieinvested his sound with a variety of timbral effects; his work had a more vocal quality when compared with that of most contemporary trumpeters. In a sense, he was a throwback to the pre-modern jazz ofCootie Williams or Bubber Miley, though Bowie was by no means a revivalist. Though he was certainly not afraid to appropriate the growls, whinnies, slurs, and slides of the early jazzers, it was always in the service of a thoroughly modern sensibility. And Bowie had chops; his style was quirky, to be sure, but grounded in fundamental jazz concepts of melody, harmony, and rhythm.

Bowie grew up in St. Louis, playing in local jazz and rhythm & blues bands, including those led byLittle Milton and Albert King. Bowie moved to Chicago in 1965, where he became musical director for singer Fontella Bass. There Bowie met most of the musicians with whom he would go on to make his name -- saxophonists Joseph Jarman and Roscoe Mitchell and drummer Jack DeJohnette among them. He was a founding member of the Association for the Advancement of Creative Musiciansand (in 1969) the Art Ensemble of Chicago. Bowie's various bands included From the Root to the Source -- a sort of gospel/jazz/rock fusion group -- and Brass Fantasy, an all-brass, postmodern big band that became his most popular vehicle. Bowie's catholic tastes were evidenced by the band's repertoire; on albums, they covered a nutty assortment of tunes, ranging from Jimmy Lunceford's "Siesta for the Fiesta" to Michael Jackson's "Black and White." Besides his work as a leader and withthe Art Ensemble, Bowie recorded as a sideman with DeJohnette, percussionist Kahil El'zabar, composer Kip Hanrahan, and saxophonist David Murray. He was also a member of the mid-'80s all-star cooperative the Leaders. Bowie's music occasionally leaned too heavily on parody and aural slapstick to be truly affecting, but at its best, a Bowie-led ensemble could open the mind and move the feet in equal measure. AMG.

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Hollins And Starr - Sidewalks Talking 1970

This one record comes via Rockasteria.  Chicago-based duo Chuck Hollins and David Starr only made this one album, which originally appeared in 1970 on the Ovation label. All we know about them is what the original ads for the album said: "David Starr learned piano when he was three, began composing when he was four. At twenty-one he was playing flute with the Chicago Symphony Orchestra. Chuck Hollins picked up a guitar one day and just started playing.... by the time he left Northwestern with his Creative Writing degree he was turning his poetry into music."

Others have said: "Unique blend… with a lovely dreaming, drifting vibe" – the Acid Archives; "Many diverse influences from pop-psych, mystical mellow passages, quasi-classical touches, delightful ethereal flute, trance-like vocals and fuzz guitar… there is much to appreciate on this largely undiscovered gem" – Fuzz, Acid & Flowers. The deluxe mini-LP sleeve CD edition has four bonus tracks, including a "hidden track" with some rare sound effects plucked from the vaults, and it is limited to 1,000 copies.

The sole album by Chuck Hollins and Dave Starr, their only known recordings, is a treasure trove of strong melodies and dreamy vocal stylings an album sure to appeal to fans of acid folk, popsike, and even those who like jazzy funk. Listening to it is a rich, rewarding experience. This is a perfectly produced and arranged record, an ode to the free mind, structured by intelligent considerations. And as another person has said, "No wonder it has been sampled by DJ Shadow." Ovation said at the time of its release, "Classical artistry rock and sidewalk poetry." All true. Very cool. Hip, mellow, and stoned. Thanks Marios.

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