Bill Evans & Jim Hall - Undercurrent 1963

Other than four piano solos from April 4, 1962, this set was pianist Bill Evans' first recordings after a hiatus caused by bassist Scott LaFaro's tragic death in a car accident. The first of two meetings on record in a duo format with guitarist Jim Hall, the collaborations are often exquisite. Both Evans andHall had introspective and harmonically advanced styles along with roots in hard-swinging bebop. There is more variety than expected on the fine set with some cookers, ballads, waltzes, and even some hints at classical music. Recommended. [Some reissues include four bonus tracks, including two alternate takes and previously unheard versions of "Stairway to the Stars" and "I'm Getting Sentimental Over You."] AMG.

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The Zoo - Presents Chocolate Moose 1968

Under the tutelage of Mike Cobb, 1968 found the band signed to Cobb's own Sunburst label. A single "Subset Strip" b/w "One Night Man" (catalog number )did little commercially, but attracted the attention of Bell Records which subsequently agreed to finance an LP. Produced by Cobb (who also contributed several songs), 1968's "The Zoo Presents Chocolate Moose" served as an interesting debut.

With all five members contributing material, the set was musically pretty varied. Straddling genres,'Chocolate Moose' offered up a distinctive garage influence; 'Get Some Beads' and 'From a Camel's Hump' found the band taking a stab at lightweight psych, while 'Soul Drippin's' showcased a penchant for blue-eyed soul . While you couldn't really consider them artistic innovators, the collection was still enjoyable andl worth hearing. The collection sold poorly and the band subsequently calling it quits.

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Dexter Gordon - Blows Hot And Cool 1955

Little was heard of tenor saxophonist Dexter Gordon on-record during the 1950s; in fact this somewhat obscure LP (@Savoy, in one of their reissue programs, also released these performances) was one ofGordon's only three appearances on record (two as a leader) during 1953-1959. He fronts a quintet with pianist Carl Perkins, bassist Leroy Vinnegar, drummer Chuck Thompson, and the forgotten trumpeter Jim Robinson, and sounds pretty strong on the straight-ahead material. Few surprises occur but this collector's item from a dark period in Dexter Gordon's life has its share of fine music. AMG.

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Orleans - Let There Be Music 1975

The first Asylum release by Orleans is an earnestly engaging, though diffuse collection of pop tunes in many flavors. Both the title track and "You've Given Me Something" are pure power-pop numbers; the former is an agreeably forceful and hook-filled electric guitar-based selection featuring an especially ardent vocal, while the latter song is a bit breezier in feel, propelled along by a galloping drumbeat. "Fresh Wind" tosses mild funk and psychedelic touches into the pure pop formula. "Business as Usual" explores disco-oriented territory, "Cold Spell" sports a funky Stevie Wonder-style guitar hook, and "Give One Heart" exhibits strong reggae influences. "Time Passes On" is a loping, expressive number with an odd Joni Mitchell-like bridge section that features far-flung harmonic excursions, while "Ending of a Song" is a warmly emotive singer/songwriter-influenced selection. The big chart hit "Dance with Me" is a magically understated country-pop song that proves very memorable over repeated hearings. Vocal harmonies on this disc are generally full and vibrant; arrangements and production are more complex and intriguing than may be apparent on first listen. Definite demerits go for the often squarishly didactic and/or cliched verses (examples can be found on "Your Life My Friend," for instance); socially critical lyrics appear on some numbers, notably "Cold Spell" and "Business as Usual." Despite the blocky verses and lack of stylistic focus, this is an often engaging platter worth a listen. AMG.

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Jesse Lankford & C.L. Weldon - Houston's Natural Gass 1978

Found in the blogsphere (rockin-hood.blogspot.com). Texas rock and roll fuzz guitar mayhem recorded in the early 70s and released on this tax scam label (Crazy Cajun) in 1978.
Along with Mandrake, this is one of the best and heaviest on the label.  Very rare record from the Texas hard rock/psych band Houston's Natural Gass.
Was actually recorded in '70 but wasn't released until '78 as a tax write off. Killer hard rock with fuzz and gritty vocals. Has 10 tracks. Enjoy.

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Kellee Patterson - Maiden Voyage 1973

Kellee Patterson's debut LP Maiden Voyage is edgier and more challenging than her subsequent soul-oriented sessions, yet at the same time it's also the most mainstream recording ever issued on the Black Jazz imprint, boasting little of the label's signature deep-groove swagger. Produced and arranged by Black Jazz founder Gene Russell, the album's late-night, neon-lit atmosphere nevertheless does right by Patterson's sultry if slight vocals, although the material -- highlighted by theHerbie Hancock-penned "Maiden Voice" -- seems to require a more aggressive interpretation. AMG.

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Re:Post: Charlie Mingus - Live At La Spezia 1975

Irascible, demanding, bullying, and probably a genius, Charles Mingus cut himself a uniquely iconoclastic path through jazz in the middle of the 20th century, creating a legacy that became universally lauded only after he was no longer around to bug people. As a bassist, he knew few peers, blessed with a powerful tone and pulsating sense of rhythm, capable of elevating the instrument into the front line of a band. But had he been just a string player, few would know his name today. Rather, he was the greatest bass-playing leader/composer jazz has ever known, one who always kept his ears and fingers on the pulse, spirit, spontaneity, and ferocious expressive power of jazz. Concert in Italy.  AMG.

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Fapardokly - Fapardokly 1967

One of the most sought-after rock rarities of the '60s, this album was stylistically uneven, as can be expected from an LP cobbled together from recordings spanning a few years. About half, however, is sparkling psychedelic folk-rock, recalling Fifth Dimension Byrds with its shimmering twelve-string guitars, multipart harmonies, and occasional trippy lyrics. Although the early material is more pop-oriented and doesn't fit in as well, it's pretty solid, recalling the Zombies and (in the very earliest tracks)Ricky Nelson. "Lila," "Tomorrow's Girl," and "Super Market" are genuine lost '60s treasures, and much of the rest of the album isn't far behind. AMG.

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Re-Post: Tom Fogerty - Myopia 1974

Although for a few years Tom Fogerty was in one of the most successful rock groups in the world, it was his lot to be in the huge shadow of his younger and far more talented brother, John Fogerty. Tomplayed rhythm guitar and sang some background vocals in Creedence Clearwater Revival, but only one of his compositions was recorded by the band. Tom was the first member of CCR to leave, splitting in early 1971 because of tensions with his brother and a wish for more freedom to sing and write his own material. Despite recording nine albums prior to his death in 1990, however, he never succeeded in either making hit records or presenting nearly as strong a musical identity as John -- or, indeed, CCRas a whole -- did.

Fogerty began playing music as a high schooler in the late '50s, sometimes sitting in with John's group, the Blue Velvets, which already included future CCR members Stu Cook and Doug Clifford. Although Tom's band, the incredulously named Spider Webb & the Insects, got as far as getting a contract with Del-Fi Records, nothing came out before they broke up in the winter of 1959. the Blue Velvets began backing Fogerty at demo sessions and live performances, and Tom eventually joinedthe Blue Velvets as lead singer, the band being billed as Tommy Fogerty & the Blue Velvets. Under that name, they cut three very obscure singles for the small Orchestra label in 1961 and 1962.

After getting a contract with Fantasy Records, the group's name was changed (against their wishes) tothe Golliwogs, who recorded half-a-dozen singles in the mid-'60s. At this time, Tom's role in the band was far more visible than it would be in Creedence Clearwater Revival. He shared lead vocals withJohn (in fact, Tom took all of the lead vocals on the first three singles), and the Fogerty brothers co-wrote most of the Golliwogs' singles. These 45s (eventually assembled on the Fantasy LP Pre-Creedence) were extremely derivative of the British Invasion and other R&B and rock trends of the day, with few hints of the swampy roots rock that would characterize CCR. Even by the end of the Golliwogsdays, it was becoming obvious that John was much the more vital singer and songwriter. By the time they started releasing material under the name Creedence Clearwater Revival in 1968, John was firmly in control of the band's musical direction.

Only one Tom Fogerty composition, "Walk on the Water" (which had actually first been recorded by the Golliwogs in 1966), would appear on a CCR album, credited to both John and Tom under the joint composition agreement that held in the Golliwogs days. In early 1971, after five LPs and more than a half-dozen huge hit singles, Tom left the band, frustrated by the lack of opportunity to sing and contribute his own material. The group would continue as a trio for one final album before disbanding.

In subsequent years, Tom would often complain that his contributions to the early days of Creedencewere overlooked, particularly as it had been he who had sung lead on most of their recordings prior to 1966; he who wrote material with John in the Golliwogs days; and he who took care of much of the business end of the band in the pre-CCR era. That all may be true, and it may be that John Fogerty did not go out of way his way to give his brother credit for this. But the hard truth is that the Blue Velvetsand the Golliwogs would have never gotten anywhere if John had not stepped forward with his songs, voice, and guitar playing; they would have been just another garage and bar band. This would be emphasized, perhaps unintentionally, by the results of Tom Fogerty's solo career.

Fogerty signed with Fantasy as a solo artist and nearly made the Top 100 with his debut single, 1971's "Goodbye Media Man." His first album, 1972's self-titled Tom Fogerty, was the only one of his LPs to chart, topping out at number 78. More important to note than his meager chart performance, however, is the meager musical value of the solo recordings themselves. While at least not blatant attempts to copyCreedence, they were unexceptional, pedestrian rock that shared CCR's blues, country, and rock influences. As a singer, Tom didn't sound much like his brother; actually, the problem was that he didn't sound like anyone in particular, his lack of vocal power and personality suggesting he was ill-suited for fronting a band or launching a solo career in the first place. Jerry Garcia and Merl Saunders played on some of Fogerty's sessions, and Stu Cook and Doug Clifford were the rhythm section on his 1973 album Zephyr National, which also had some contributions from John. A single from the album, "Joyful Resurrection," strongly echoed the vintage Creedence sound and, perhaps not coincidentally, wasTom Fogerty's best solo track.

Fogerty continued to record, to little sales or public acclaim, throughout the '70s and '80s. He, Cook, and Clifford became increasingly estranged from John Fogerty in disputes over use of the Creedencecatalog and John's feuds with Fantasy Records. By re-signing with Fantasy in the early '80s (he had left for a couple of albums on PBR in the late '70s), Tom further alienated John, although all four bandmembers managed to set aside their grievances and play together one last time at Tom's wedding in 1980. The brothers, sadly, grew further apart over the course of the '80s before Tom died in 1990 of AIDS, believed by his family to have resulted from blood transfusions he received during operations for back trouble. AMG.

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Atomic Rooster - Atomic Roooster 1970

The incipient incarnation of Atomic Rooster -- with Vincent Crane (organ/vocals), Nick Graham(vocals/bass), and Carl Palmer (drums) -- was together just long enough to document its debut,Atomic Roooster (1970) -- (note: the extra O is intentional). Prior to the last-minute addition of Graham-- the only bassist Atomic Rooster ever had -- the band emerged from the remnants of the then recently defunct Crazy World of Arthur Brown. The material was primarily courtesy of Crane and consisted of heavier sides. His versatility is evident throughout the impressive array of styles ranging from the folk-inspired pastoral "Winter" to the bluesy horn arrangement heard on "Broken Wings." This directly contrasts driving rockers such as the album's edgy opener, "Friday 13th," or the aggressive "S.L.Y." "Decline and Fall" is a jazz-infused number boasting some exceptional if not incendiary instrumental interaction, most notably from Crane and Palmer. Lyrically, Crane reveals his penchant for dark imagery, including the fatalistic "What is the point of going on?" chorus that runs through the aforementioned "Winter" or the sexually snide "And So to Bed." Support was bolstered by strong live appearances, positive word-of-mouth, and a few significant BBC Radio sessions -- all of which resulted in Atomic Roooster making a respectable showing at number 49 on the U.K. LP charts. By the time the platter was picked up by Elektra Records in North America, the personnel had already changed withJohn Cann (guitar/vocals) replacing Graham. In an interesting move, they decided that Cann should also overdub guitar parts to "S.L.Y." and "Before Tomorrow," as well as provide a new vocal to "Friday 13th." The transformation didn't end there, either, as the original running order was also significantly altered. Parties interested in hearing both should locate the 2004 reissue, as the supplementary selections feature the U.S. version(s), plus a pair of uniformly excellent selections broadcast on BBC Radio -- "Friday 13th" and "Seven Lonely Streets" (aka "Seven Streets") from Atomic Rooster's follow-up LP, Death Walks Behind You (1970). Of further historical note is that the live-in-the-studio BBC recordings were documented less than a week before the departure of Palmer, effectively ending the first lineup. AMG.

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Nina Simone - Wild Is The Wind 1966

This album was apparently a bit of a pastiche of leftovers from sessions for Nina Simone's four previous albums on Philips. But you'd never guess from listening; the material is certainly as strong and consistent as it is on her other mid-'60s LPs. As is the case with most of her albums of the time, the selections are almost unnervingly diverse, ranging from jazz ballads to traditional folk tunes ("Black Is the Color of My True Love's Hair") to the near calypso of "Why Keep on Breaking My Heart" to the somber, almost chilling title track. Highlights are two outstanding pop-soul numbers written by the pre-disco Van McCoy ("Either Way I Lose," "Break Down and Let It All Out") and "Four Women," a string of searing vignettes about the hardships of four African-American women that ranks as one of Simone's finest compositions. AMG.

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Vivian Stanshall - Harold Hare ... And Other Droppings 1978

Dubbed "the court jester of the underground rock scene in the 1960s" by influential DJ John Peel, Vivian Stanshall earned his greatest notoriety as the original tenor in the absurdistBonzo Dog Band, although he was also a noted artist and comedian. Stanshall was born on March 21, 1943, in East London, England, before World War II forced him and his mother to evacuate to Oxfordshire. While attending art school under the well-known pop artist Peter Blake (the designer ofthe Beatles' famed Sgt. Pepper's album cover), Stanshallformed the Bonzo Dog Dada Band with flatmate Rodney Slater and fellow student Larry Smith in 1962.
Later shortened to simply the Bonzo Dog Band, the satirical group became highly successful before creative differences triggered its breakup in 1970. Stanshall quickly resurfaced with a series of short-lived and diverse projects: the first, the Sean Head Showband, issued the single "Labio Dental Fricative," while his second solo release, under the guise of Vivian Stanshall & His Gargantuan Chums, was a parody cover of Terry Stafford's "Suspicion." "Blind Date" was recorded as biG GRunt, a group also comprised of Bonzo Dog Band auxiliary members Roger Ruskin Spear, Dennis Cowan, and "Borneo" Fred Munt; while the group did play a handful of live gigs, it met its premature demise when Stanshall, a heavy drinker and drug user, suffered a nervous breakdown and was hospitalized.
In 1974, Stanshall emerged with his debut solo LP, Men Opening Umbrellas, recorded with Steve Winwood;Stanshall later returned the favor, collaborating withWinwood on his own self-titled debut and contributing significant lyrical ideas to 1980's Arc of a Diver. After narrating Mike Oldfield's Tubular Bells, Stanshall was tapped to guest host the BBC Radio 4 program Start the Week, where he developed his monologue "Rawlinson End," which later inspired his own 1978 release, Sir Henry at Rawlinson End, as well as a film of the same title starring Trevor Howard.
In 1981, Stanshall issued the autobiographical Teddy Boys Don't Knit, followed three years later by the spoken word project Henry at Ndidis Kraal. The Rawlinson saga continued with Rawlinson Dogends, a 1991 play staged at London's Bloomsbury Theatre complete with musical backing from Rodney Slater and Roger Ruskin Spear. Another autobiographical radio play, Essex Teenager to Renaissance Man, followed in 1994, along with film and voice-over work.Vivian Stanshall died in a house fire on the morning of March 5, 1995. AMG.

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Eric Clapton - 461 Ocean Boulevard 1974

461 Ocean Boulevard is Eric Clapton's second studio solo album, arriving after his side project ofDerek and the Dominos and a long struggle with heroin addiction. Although there are some new reggae influences, the album doesn't sound all that different from the rock, pop, blues, country, and R&B amalgam of Eric Clapton. However, 461 Ocean Boulevard is a tighter, more focused outing that enables Clapton to stretch out instrumentally. Furthermore, the pop concessions on the album -- the sleek production, the concise running times -- don't detract from the rootsy origins of the material, whether it's Johnny Otis' "Willie and the Hand Jive," the traditional blues "Motherless Children," Bob Marley's "I Shot the Sheriff," or Clapton's emotional original "Let It Grow." With its relaxed, friendly atmosphere and strong bluesy roots, 461 Ocean Boulevard set the template for Clapton's '70s albums. Though he tried hard to make an album exactly like it, he never quite managed to replicate its charms. AMG.

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