Elvin Jones - Merry-Go-Round 1972

Inexcusably, there are no date or personnel listings on this LP from Blue Note's declining years, but the music is generally quite worthwhile if a bit eclectic. The personnel changes throughout the session, despite all the performances being apparently recorded on the same day. The great drummer Elvin Jones is joined by the reeds of David Liebman, Steve Grossman, and Joe Farrell; baritonist Pepper Adams is also on two numbers, and keyboardists Chick Corea and Jan Hammer generally alternate (although they both appear on a few tunes together), guitarist Yoshiaki Masuo has guest appearances on two songs, and most selections include bassist Gene Perla and percussionist Don Alias. The group mostly plays concise versions of band originals, including Corea's classic "La Fiesta." An interesting set, but Elvin Jones has recorded many more rewarding albums. AMG.

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Crazy Horse - At Crooked Lake 1972

After releasing a promising debut album, Crazy Horse, in February 1971, Neil Young's former backup band was reduced to its rhythm section of bassist Billy Talbot and drummer Ralph Molina, who enlisted three new members -- George Whitsell, Greg Leroy, and John Blanton -- to make Loose (January 1972), essentially the work of a different, inferior group. Nine months later, 40 percent of the membership of Crazy Horse has turned over again for the band's third album, At Crooked Lake, with the departure of Whitsell and Blanton and the arrival of Rick and Michael Curtis. This lineup turns out to be better than the one that made Loose but still nowhere near the one that made Crazy Horse. And, as fronted by yet another couple of lead singers and songwriters, it again seems like a different band. The Curtis brothers are competent performers, particularly Rick, who writes or co-writes five of the ten selections and sings in a slightly whiny voice while contributing rhythm guitar and banjo. Keyboardist Michael Curtis gets his name on a couple of tracks, and Leroy writes three, among them the attractive ballad "Your Song," while adding effective lead guitar and bottleneck playing. With the acoustic guitars strumming and occasional steel guitar interludes, this is a country rock in the style of Poco, sometimes, as in Leroy's "85 El Paso's," going into the straight country. But the songwriting still isn't as good as that of Poco, the Flying Burrito Brothers, the Eagles, or for that matter, the material banished Crazy Horse member Danny Whitten (who finally died of a drug overdose the month after this LP was released) contributed to the first album. AMG.

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Bob Dylan - Blonde On Blonde 1966

If Highway 61 Revisited played as a garage rock record, the double album Blonde on Blonde inverted that sound, blending blues, country, rock, and folk into a wild, careening, and dense sound. Replacing the fiery Michael Bloomfield with the intense, weaving guitar of Robbie Robertson, Bob Dylan led a group comprised of his touring band the Hawks and session musicians through his richest set of songs. Blonde on Blonde is an album of enormous depth, providing endless lyrical and musical revelations on each play. Leavening the edginess of Highway 61 with a sense of the absurd, Blonde on Blonde is comprised entirely of songs driven by inventive, surreal, and witty wordplay, not only on the rockers but also on winding, moving ballads like "Visions of Johanna," "Just Like a Woman," and "Sad Eyed Lady of the Lowlands." Throughout the record, the music matches the inventiveness of the songs, filled with cutting guitar riffs, liquid organ riffs, crisp pianos, and even woozy brass bands ("Rainy Day Women #12 & 35"). It's the culmination of Dylan's electric rock & roll period -- he would never release a studio record that rocked this hard, or had such bizarre imagery, ever again. AMG,

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Deep Purple - Deep Purple 1969

This is a record that even those who aren't Deep Purple fans can listen to two or three times in one sitting -- but then, this wasn't much like any other album that the group ever issued. Actually, Deep Purple was highly prized for many years by fans of progressive rock, and for good reason. The group was going through a transition -- original lead singer Rod Evans and bassist Nick Simper would be voted out of the lineup soon after the album was finished (although they weren't told about it until three months later), organist Jon Lord and guitarist Ritchie Blackmore having perceived limitations in their work in terms of where each wanted to take the band. And between Lord's ever-greater ambitions toward fusing classical and rock and Blackmore's ever-bolder guitar attack, both of which began to coalesce with the session for Deep Purple in early 1969, the group managed to create an LP that combined heavy metal's early, raw excitement, intensity, and boldness with progressive rock's complexity and intellectual scope, and virtuosity on both levels. On "The Painter," "Why Didn't Rosemary?," and, especially, "Bird Has Flown," they strike a spellbinding balance between all of those elements, and Evans' work on the latter is one of the landmark vocal performances in progressive rock. "April," a three-part suite with orchestral accompaniment, is overall a match for such similar efforts by the Nice as the "Five Bridges Suite," and gets extra points for crediting its audience with the patience for a relatively long, moody developmental section and for including a serious orchestral interlude that does more than feature a pretty tune, exploiting the timbre of various instruments as well as the characteristics of the full ensemble. Additionally, the band turns in a very successful stripped-down, hard rock version of Donovan's "Lalena," with an organ break that shows Lord's debt to modern jazz as well as classical training. In all, amid all of those elements -- the orchestral accompaniment, harpsichord embellishments, and backward organ and drum tracks -- Deep Purple holds together astonishingly well as a great body of music. This is one of the most bracing progressive rock albums ever, and a successful vision of a musical path that the group might have taken but didn't. Ironically, the group's American label, Tetragrammaton Records, which was rapidly approaching bankruptcy, released this album a lot sooner than EMI did in England, but ran into trouble over the use of the Hieronymus Bosch painting "The Garden of Earthly Delights" on the cover; although it has been on display at the Vatican, the work was wrongly perceived as containing profane images and never stocked as widely in stores as it might've been. AMG.

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The Band - Music from Big Pink 1968

None of the Band's previous work gave much of a clue about how they would sound when they released their first album in July 1968. As it was, Music from Big Pink came as a surprise. At first blush, the group seemed to affect the sound of a loose jam session, alternating emphasis on different instruments, while the lead and harmony vocals passed back and forth as if the singers were making up their blend on the spot. In retrospect, especially as the lyrics sank in, the arrangements seemed far more considered and crafted to support a group of songs that took family, faith, and rural life as their subjects and proceeded to imbue their values with uncertainty. Some songs took on the theme of declining institutions less clearly than others, but the points were made musically as much as lyrically. Tenor Richard Manuel's haunting, the lonely voice gave the album much of its frightening aspect, while Rick Danko's and Levon Helm's rough-hewn styles reinforced the songs' rustic fervor. The dominant instrument was Garth Hudson's often icy and majestic organ, while Robbie Robertson's unusual guitar work further destabilized the sound. The result was an album that reflected the turmoil of the late '60s in a way that emphasized the tragedy inherent in the conflicts. Music from Big Pink came off as a shockingly divergent musical statement only a year after the ornate productions of Sgt. Pepper, and initially attracted attention because of the three songs Bob Dylan had either written or co-written. However, as soon as "The Weight" became a minor singles chart entry, the album and the group made their own impact, influencing a movement toward roots styles and country elements in rock. Over time, Music from Big Pink came to be regarded as a watershed work in the history of rock, one that introduced new tones and approaches to the constantly evolving genre. AMG.

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Dada - Dada 1971

Fronted by the talented lead singer Elkie Brooks (who was quite popular in England at the time), Dada was a short-lived band project. Sounding something like a slightly arty, British version of Delaney and Bonnie, Dada's sound was heavy, gospel-oriented rock & roll. Unfortunately, the 'heavy' part of this is where a lot of the performances on this record suffer. Oftentimes, the arrangements are too heavy for their own good and tend to weaken under their own weight. Many of the original songs are a bit dated and somewhat mediocre, with the one notable exception "Seed of Peace." A simple, gospel-soaked piano drives the chorus, led by Brooks' excellent lead. It's a wonderful track, somewhat reminiscent of Delaney & Bonnie's "Getto." It succeeds precisely because of the understatement in its arrangement. Unfortunately, this is one of the few examples of a laidback approach on the album; they could have done more of these. AMG.
 

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Fair Weather - Let Your Mind Roll On 1972

Reissue of ultra-rare German pressing (1972, Hansa Records) for this eclectic musician of Amen Corner fame and well-known for his long-time collaboration with Eric Clapton. Still using the moniker of the recently defunct Fairweather (after their only 1971 album), Andy Fairweather Low put out this rare prog-folk-oriented project. The band evolved from a split within Amen Corner. While saxophone players Alan Jones and Mike Smith went on to form Judas Jump, Fairweather Low led Dennis Byron (drums), Blue Weaver (organ), Clive Taylor (bass), and Neil Jones (guitar) into the new band, Fair Weather. The band scored a UK Singles Chart Number 6 hit with "Natural Sinner"/"Haven't I Tried (To Be A Good Man)" in 1970[1] and recorded one album, Beginning From An End. From the latter were drawn three more singles, "Lay It On Me"/"Looking for the Red Label Pt. 2", "Tutti Frutti"/"Road To Freedom" and "Poor Man's Bum A Run"/"Don't Mess With Cupid". None charted and Fair Weather disbanded in 1972.

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Genesis - Foxtrot 1972

Foxtrot is where Genesis began to pull all of its varied inspirations into a cohesive sound -- which doesn't necessarily mean that the album is streamlined, for this is a group that always was grandiose even when they were cohesive, or even when they rocked, which they truly do for the first time here. Indeed, the startling thing about the opening "Watcher of the Skies" is that it's the first time that Genesis attacked like a rock band, playing with a visceral power. There's might and majesty here, and it, along with "Get 'Em Out by Friday," is the truest sign that Genesis has grown muscle without abandoning the whimsy. Certainly, they've rarely sounded as fantastical or odd as they do on the epic 22-minute closer "Supper's Ready," a nearly side-long suite that remains one of the group's signature moments. It ebbs, flows, teases, and taunts, see-sawing between coiled instrumental attacks and delicate pastoral fairy tales. If Peter Gabriel remained a rather inscrutable lyricist, his gift for imagery is abundant, as there are passages throughout the album that are hauntingly evocative in their precious prose. But what impresses most about Foxtrot is how that precociousness is delivered with pure musical force. This is the rare art-rock album that excels at both the art and the rock, and it's a pinnacle of the genre (and decade) because of it. AMG.

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Geater Davis - Sweet Woman's Love 1971

Geater Davis was one of the South's great lost soul singers, an impassioned stylist whose voice was a combination of sweetness and sandpaper grit. Comparable to the blues-drenched likes of Johnnie Taylor or, especially, Bobby "Blue" Bland, Davis wound up even more of a cult artist than deep soul peers like James Carr or O.V. Wright, having recorded mostly for small local labels during his prime. Davis was born in Kountze, TX, in 1946 and did the vast majority of his recording during the first half of the '70s, often writing or co-writing his own material and occasionally producing or playing guitar as well. He cut an album, Sweet Woman's Love, for the House of Orange label in 1971, and his cover of Jerry Butler & the Impressions' "For Your Precious Love" later became a favorite among British soul collectors. He went on to release singles for Luna ("I Don't Worry (About Jody)") and Ace ("Strange Situation," "Tired of Busting My Brain") before a long spell with 77, where his output included "Long Cold Winter," "I'm Gonna Change" (recorded at Muscle Shoals), "I've Got to Pay the Price," and "Your Heart Is So Cold," among others. Unfortunately, Davis' records never sold very well, even in spite of heavy touring on the blues and chitlin circuits. He died of a heart attack on September 29, 1984; he was only 38 years old. In 1998, West Side released Sadder Shades of Blue: The Southern Soul Sessions 1971-76, a compilation covering most of the labels for which he recorded (except House of Orange). AMG.

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The Eclectic Mouse - Everything I Got 1970

The Eclectic Mouse Was The Nickname Of Master Percussionist Steve Forman, Who Released One LP And A Supporting 45 On Capitol Records In 1969 Under That Moniker. The Album, Titled 'Everything I've Got' (Subtitled 'Suite For Voice, Wind Ensemble, Percussion And Electric Instruments'), Is A Very Interesting One To Say The Least, With Highly Original "Movements" That Feature Numerous Wind And Percussion Instruments And Were All Written, Arranged And Conducted By Forman Himself. The Stand Out Track On The Record Is The Amazing 'Where Do The Hounds Go?', Which Can Be Best Described As A Highly Energetic Fusion Of Paranoid "Jazz From Hell" And Rock. Another relatively unknown early American progressive rock gem you won't find on the other prog websites, The Eclectic Mouse was the vehicle for one Steve Forman; a Phoenix, Arizona conductor who is still in the music business apparently, but never got around to recording a follow-up. How this album and The Eclectic Mouse came together is unknown as precious little information is available anywhere, but it was released on Capitol, and had enough confidence to back it with a single release. Never on CD, copies in the original thick cardboard gatefold sleeve are hard to find and very expensive these days as its reputation continues to grow.

Everything I've Got' is a product of it's time-when classical, pop, and jazz styles fused as one. A blip on the continuum when Mason Williams' 'Classical Gas' reached the American Top 40 all the way to number two, The Nice unleashed Leonard Bernstein's 'America' while burning the American flag, and psychedelia was very much in the air. This is classical rock at its best as The Eclectic Mouse plugged into the fuzzy, color-splashed spirit of the new age. The concept here is pretty much the story of a guy trying to find himself in the world and as tired as that well-worn tale sounds, musical it's a fun listen. It's not just classical, but jazz that provides the album's musical colors, and the vocalists are good, no complaints there as the songs all written by Foreman are uniformly interesting. The album's single which was edited for the masses sounds like Jethro Tull mixed with Blood Sweat & Tears. Nicely done, and come to think of it that's a pretty good synopsis of the album as a whole.

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Elephant's Memory - Elephant's Memory 1969

This is the 1969 debut long player from the extended Big Apple-based ensemble Elephant's Memory. As such, it should not be confused with their 1972 release on the Apple Records label, featuring John Lennon and Yoko Ono. Instead, this 11-song collection is from an earlier lineup that would, among other things, gain significant visibility for their contributions to the film Midnight Cowboy and its subsequent soundtrack (1969). Musically, the combo was multi-faceted; on the jazzy "R.I.P." and the uptempo opener, "Don't Put Me on Trial No More," they display a soulful horn-driven vibe, while "Super Heep," "Brief Encounter," and "Jungle Gym at the Zoo" are decidedly trippier and slightly reminiscent of the Electric Flag or the incipient incarnation of Al Kooper's Blood, Sweat & Tears. Incidentally, "Jungle Gym at the Zoo" and "Old Man Willow," an ethereal seven-plus minute psychedelic waltz, were chosen for the aforementioned Midnight Cowboy and even spawned Songs from Midnight Cowboy Plus Their Hit Singles (1969), an album that was little more than a profit-motivated retread to cash in on the name recognition. Two of the more interesting pieces on Elephant's Memory are the catchy pop ditty "Crossroads of the Stepping Stone," a song that could easily be mistaken for a Sopwith Camel outtake, and the pseudo-ragtime "Yogurt Song," which is as much a sly parody of the granola-lovin' generation as it is a stab at the jug band sound that inspired artists such as the Charlatans and New Vaudeville Band. Although they would continue, by the mid-'70s Elephant's Memory had gone through radical personnel changes and the name was eventually retired after the release of Angels Forever (1974). [In 2004, Elephant's Memory was issued on CD by Collector's Choice Music, sporting a great liner note essay by Richie Unterberger.] AMG.

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Delaney & Bonnie - Accept No Substitutes 1969

While Delaney & Bonnie will be forever associated with Eric Clapton and Layla & Other Assorted Love Songs, the couple, along with a loose association of friends, recorded a number of classics in their own right. Released in 1969, Accept No Substitute contained the same blend of soul and rock & roll that would show up on Layla the following year. While the production, as Matthew Greenwald points out in the liner notes, has a "pop sheen," Delaney & Bonnie's earthy vocals, along with the band's rhythm & blues assault, nonetheless dictate the proceedings. The horn section and expressive guitar create a lovely mix on "Get Ourselves Together" and "Someday," giving the listener a taste of what gospel might sound like if performed by a good '60s rock band. This religious connection is even more predominant in "Soldiers of the Cross," a piece of lyrical fundamentalism that would fit quite comfortably into a Baptist choir's repertoire. This isn't to infer that Accept No Substitute is pious in any way; only that Delaney & Bonnie and their friends add a spiritual quality to the music they perform. One also shouldn't miss the imaginative "Ghetto," a song that cleverly combines soulful piano with strings. For those unfamiliar with Delaney & Bonnie's other work, Accept No Substitute is a good place to start. AMG.

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Happy New Year 2023!

One more year is gone, and what a year! Anyway, more to come yes!!! Thanks to all visitors, new ones and those who come frequently for some time.  B., Alfred, Mauro Filipe, Vasily, E.W., Snakeboy, Mara, Pete, George, Bill (24hrDejaVu), Spunkie, T.G., Terry A., Zapata, and so many more. So, thanks for sharing life around!!! Happy New Year 2023!

Grateful Dead - American Beauty 1970

With 1970's Workingman's Dead, the Grateful Dead went through an overnight metamorphosis, turning abruptly from tripped-out free-form rock toward sublime acoustic folk and Americana. Taking notes on vocal harmonies from friends Crosby, Stills, Nash & Young, the Dead used the softer statements of their fourth studio album as a subtle but moving reflection on the turmoil, heaviness, and hope America's youth was facing as the idealistic '60s ended. American Beauty was recorded just a few months after its predecessor, both expanding and improving on the bluegrass, folk, and psychedelic country explorations of Workingman's Dead with some of the band's most brilliant compositions. The songs here have a noticeably more relaxed and joyous feel. Having dived headfirst into this new sound with the previous album, the bandmembers found the summit of their collaborative powers here, with lyricist Robert Hunter penning some of his most poetic work, Jerry Garcia focusing more on gliding pedal steel than his regular electric lead guitar work, and standout lead vocal performances coming from Bob Weir (on the anthem to hippie love "Sugar Magnolia"), Ron "Pigpen" McKernan (on the husky blues of "Operator"), and Phil Lesh (on the near-perfect opening tune, "Box of Rain"). This album also marked the beginning of what would become a long musical friendship between Garcia and Dave Grisman, whose mandolin playing adds depth and flavor to tracks like the outlaw country-folk of "Friend of the Devil" and the gorgeously devotional "Ripple." American Beauty eventually spawned the band's highest charting single -- "Truckin'," the greasy blues-rock tribute to nomadic counterculture -- but it also contained some of their most spiritual and open-hearted sentiments ever, their newfound love of intricate vocal arrangements finding pristine expression on the lamenting "Brokedown Palace" and the heavenly nostalgia and gratitude of "Attics of My Life." While the Dead eventually amassed a following so devoted that following the band from city to city became the center of many people’s lives, the majority of the band's magic came in the boundless heights it reached in its live sets but rarely managed to capture in the studio setting. American Beauty is a categorical exception to this, offering a look at the Dead transcending even their own exploratory heights and making some of their most powerful music by examining their most gentle and restrained impulses. It’s easily the masterwork of their studio output, and a strong contender for the best music the band ever made, even including the countless hours of live shows captured on tape in the decades that followed. AMG.

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Mad River - Mad River 1968

The dark side of the psychedelic experience, sounds like a soundtrack to a bad trip with its bleak, enigmatic lyrics, swirling, somewhat dissonant arrangements, and relentlessly minor melodies. The longer tracks meander at times, but the hell-bent jerking tempos of "Merciful Monks" and "Amphetamine Gazelle, " as well as the chilling closing lullaby "Hush Julian, " still pack a punch. The 1985 British reissue of this LP (on Edsel) adds extensive liner notes and restores the album to its correct speed (the original master ran too fast). AMG.

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