Sutherland Brothers - Slipstream 1976

Folk rockers the Sutherland Brothers formed originally in London during 1970, but it wasn't until a few years later (when the group fused together with another band) that they enjoyed their greatest chart success. Brothers Ian (vocals, guitar) and Gavin (bass, vocals) first went by the name of A New Generation (at the insistence of their manager at the time) before the duo changed their name to the Sutherland Brothers and recorded a demo. The tape caught the ear of former Traffic bassist Muff Winwood, who helped sign the duo to Island Records, a label that Winwood served as an A&R man for at the time. A pair of largely folk-based recordings were issued in 1972, a self-titled debut and Lifeboat, the latter of which scored the group their first bona fide hit, "(I Don't Want to Love You But) You Got Me Anyway," as well as an original composition that would later be covered by Rod Stewart, "Sailing."

By the dawn of 1973, the Sutherland Brothers decided to augment their group (they were unhappy with their live sound at the time) by teaming up with an obscure rock act named Quiver (who had issued a pair of underappreciated albums on their own -- 1971's self-titled release and 1972's Gone in the Morning) -- as the new group went by the name of the Sutherland Brothers & Quiver, or SBQ. The Sutherland Brothers & Quiver remained intact for much of the '70s and Stewart's aforementioned cover of "Sailing" hit the number one spot in the U.K. and during 1975, the group scored another sizeable hit on their own with "The Arms of Mary" (peaking at number five in the U.K.). The group steadily toured both the United States and Europe, issuing such further releases as 1973's Dream Kid and 1974's Beat of the Street before leaving Island for Columbia Records and releasing 1975's Reach for the Sky, 1976's Slipstream, 1977's Down to Earth, and 1979's When the Night Comes Down. But by the dawn of the '80s, the hits had dried up and SBQ decided to call it a day. Both of the Sutherland brothers attempted to launch solo careers on their own during the early '80s, but both failed to retain the audience of their previous band. AMG.

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Head Machine - Orgasm 1969

Orgasm. A concept album about, uh, the album’s title, recorded by Toe Fat under an alias, for somewhat obvious reasons. This one has to be heard to be believed. The sonKarthago-Rock_n_Roll_Testament_3g titles include: “Climax: You Tried To Take It All,” “Make The Feeling Last,” “You Must Come With Me,” “The Girl Who Loved The Girl Who Loved,” “Orgasm,” “The First Time,” and “Scattering Seeds.” Did I mention it has to be heard to be believed?

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Orphan Egg - Orphan Egg 1969

Orphan Egg's only release, this self-titled album which appeared on the Carole Record label in 1968.

The band, formed in 1967 in San Jose, was one of the lengthy list of Bay area groups inspired by the psych movement spreading its tentacles from the sound's spiritual home in San Francisco.

A majority of the band members were students at Saratoga High School in Saratoga when they won the Vox Battle Of The Bands, a nationwide competition.

The album, which also boasts some strong UK beat/psych influences a la early Status Quo, features lashings of incredible heavy fuzz guitar psych on a number of tracks, several of which were deemed worthy enough to feature in director Maury Dexter's exploitation flick, Born Wild, and which also included a memorable scene of the band strutting their musical stuff at a pool party.

The album consists of several covers including a killer version of the old Everly Brothers' hit, 'Bird Dog.'

Apart from this, the self-penned tunes really are the stand-outs here, with the feisty fuzz guitar, bass, drums, a little recorder and a smattering of harpsichord, combining, along the beautiful trippy vocals, to produce an ethereal, floating psych sound that makes for a hugely enjoyable listen." (review by Forcedexposure.com) . Thanks to phrockblog3.blogspot.com.

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John Mayall - USA Union 1970

John Mayall's Turning Point band -- Jon Mark, Johnny Almond, and Steve Thompson -- broke up in June 1970 after a European tour. Mayall then assembled his first all-American band and recorded this album in July. It had more drive than the previous outfit, and Mayall turned to environmentalism on the leadoff track, "Nature's Disappearing." But much of his low-volume, reflective approach remained on an album that was still more of a jazz-pop outing than the blues sessions of his early career. USA Union had the highest U.S. chart peak of his career, hitting #22. But in the U.K., where its title confirmed Mayall's U.S. leanings, the album showed a big dropoff from his usual sales. AMG.

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Brigitte Fontaine - Brigitte Fontaine est... 1970

Brigitte Fontaine's first album, arranged by Jean Claude Vannier (who had also done arrangements for Serge Gainsbourg), is her most normal and accessible record. It's still not terribly normal by pop standards, its arty songs dressed up with period Continental orchestration and quirky melodies and vocal deliveries. These can both hark back to Edith Piaf-styled material, or look forward to slight avant-garde/experimentalism. At times it sounds like the kind of thing Francoise Hardy might have done had she continued to develop along adventurous lines and keep pace with progressive pop and rock trends in the late '60s. In fact, songs like "Une Fois Mais Pas Deux" sound rather close to Hardy's best late-'60s material, but Hardy would have never done anything as goofy as "L'Homme Objet," with its music-box backing, or as odd as "Eternelle," with its tribal male backup vocals and rhythms, and "Blanche Neige," with its overdubbed tropical bird effects. AMG.

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Donald Byrd - Ethiopian Knights 1971

Right from the stop-start bass groove that opens "The Emperor," it's immediately clear that Ethiopian Knights is more indebted to funk -- not just funky jazz, but the straight-up James Brown/Sly Stone variety -- than any previous Donald Byrd project. And, like a true funk band, Byrd and his group work the same driving, polyrhythmic grooves over and over, making rhythm the focal point of the music. Although the musicians do improvise, their main objective is to keep the grooves pumping, using their solos more to create texture than harmonic complexity. That's why jazz purists began to detest Byrd with this album (though the follow-ups certainly cinched it); in truth, even though Ethiopian Knights did move Byrd closer to R&B, it's still more jazz than funk, and didn't completely foreshadow his crossover. The dense arrangements and lo-o-o-ng workouts (two of the three tracks are over 15 minutes) are indicative of Byrd's continued debt to Miles Davis, in particular the bevy of live double LPs Davis issued in the early '70s. Byrd again leads a large ensemble, but with mostly different players than on his recent sessions; some come from the group assembled for Bobby Hutcherson's Head On album, others from the Jazz Crusaders. That's part of the reason there are fewer traces of hard bop here, but it's also clear from the title that Byrd's emerging Afrocentric consciousness was leading him -- like Davis -- to seek ways of renewing jazz's connection to the people who created it. Even if it isn't quite as consistent as Kofi and Electric Byrd, Ethiopian Knights is another intriguing transitional effort that deepens the portrait of Byrd the acid jazz legend. AMG.

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Colosseum - Valentyne Suite 1969

One of England's prime jazz-rock -- or, more accurately, rock-jazz -- outfits, most of the members of Colossuem had apprenticed in blues bands, and it shows very strongly on some of the material here. Both "The Kettle" and "Butty's Blues" are essentially tarted-up 12-bar blues, although they work well in a grander context; in the latter case much grander, as a brass ensemble enters for the last part, drowning out everything but the guitar, an indication that this recording is in dire need of remastering. "Elegy" is a fast-paced, minor-key blues that stretches guitarist James Litherland's vocal abilities. Things do get far more interesting with "The Machine Demands a Sacrifice," which offers solo opportunities to organist Dave Greenslade and sax player Dick Heckstall-Smith before re-emerging in what can only be called a proto-industrial style, all heavily treated clattering percussion. The album's real joy comes with "The Valentyne Suite," which takes the band out of their bluesy comfort zone into something closer to prog rock. Bandleader Jon Hiseman is a stalwart throughout, his busy drumming and fills owing far more to jazz than the studied backbeat of rock. Greenslade proves to be a largely unsung hero, his only real solo in the suite something to offer a challenge to vintage Keith Emerson, but with swing. As to criticism, bassist Tony Reeves has very little flow to his playing, which severely hampers a rhythm section that needs to be loose-limbed, and Litherland's guitar playing is formulaic, which can be fine for rock, but once outside the most straightforward parameters, he seems lost. In retrospect this might not quite the classic it seemed at the time, but it remains listenable, and for much of the time, extremely enjoyable. AMG.

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Free - Free At Last 1972

by Jason Ankeny

Famed for their perennial "All Right Now," Free helped lay the foundations for the rise of hard rock, stripping the earthy sound of British blues down to its raw, minimalist core to pioneer a brand of proto-metal later popularized by 1970's superstars like Foreigner, Foghat and Bad Company. Free formed in London in 1968 when guitarist Paul Kossoff, then a member of the blues unit Black Cat Bones, was taken to see vocalist Paul Rodgers' group Brown Sugar by a friend, drummer Tom Mautner. After deciding to form their own band, Kossoff and Rodgers recruited drummer Simon Kirke (since Mautner was at university) and 16-year-old bass phenom Andy Fraser from the ranks of John Mayall's Bluesbreakers; with the aid of Alexis Korner, who also suggested the name Free, the fledgling band signed to the Island label, issuing their bluesy debut Tons of Sobs in 1968.

Free's eponymous 1969 follow-up expanded on their roots-based sound, incorporating rockers like Albert King's "The Hunter" as well as muscular ballads like "Lying in the Sunshine" into the mix. Although both of the first two albums fared poorly on the charts, 1970's Fire and Water became a tremendous hit on the strength of the primal "All Right Now," a Top Five smash powered by Rodgers' gritty, visceral vocals. After headlining 1970's Isle of Wight festival, the group appeared destined for superstardom, but the LP Highway did not fare nearly as well as anticipated, and after a grueling tour which yielded 1971's Free Live, the band dissolved amidst ego clashes and recriminations.

While Rodgers went on to form Peace and Fraser founded Toby, Kossoff and Kirke teamed with bassist Tetsu Yamauchi and keyboardist John "Rabbit" Bundrick to record the album Kossoff, Kirke, Tetsu and Rabbit. When none of these new projects proved successful, the original lineup of Free re-formed to record 1972's Free at Last, which launched the hit "Little Bit of Love." However, drug problems nagged the group, as Kossoff's longtime battle with heroin continued to worsen; soon Fraser exited to form Sharks with Chris Spedding, leaving Rodgers and Kirke to record the majority of 1973's Heartbreaker while a drug-addled Kossoff watched from the sidelines. Soon, the group disbanded again, this time for good: while Rodgers and Kirke went on to found Bad Company, Kossoff formed Back Street Crawler before dying of a drug-induced heart attack on March 19, 1976. AMG.

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Colours - Colours 1968

Among the many unmemorable late '60s psychedelic bands that put out a record or two, Colours do stand out from the pack a bit for a couple of reasons. One is that they were among the relatively few American bands to adopt a very British orchestrated pop-psychedelic style, which must have been honed by incessant listening to every track the Beatles did in 1967. The other is that their bassist was Carl Radle, who soon went on to play in Delaney & Bonnie and, shortly afterward, Derek & the Dominoes, as well as with J.J. Cale and Eric Clapton the solo artist. Colours drummer Chuck Blackwell also achieved some renown in the early '70s by playing with Leon Russell, Joe Cocker, Taj Mahal, Freddie King, and other artists.

However, the prime architects of Colours' sound were songwriters Jack Dalton and Gary Montgomery. They wrote all of the material on Colours' 1968 self-titled debut album on Dot, a competent if unexciting derivation of the sort of florid, bouncy, multi-textured songs the Beatles did on their 1967 LPs and singles. The problems? The songs weren't one-tenth as memorable, and the arrangements not nearly as clever or intricate, even if there was obvious attention paid to detail, with full harmonies and varying overlays of horns, strings, and even a sitar. Colours did make one further album, 1969's Atmosphere, on which no musicians other than Dalton and Montgomery are credited. AMG.

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The Sun Also Rises - The Sun Also Rises 1970

Sun Also Rises was the duo of Graham Hemingway and Anne Hemingway, who put out a self-titled album in the British acid folk style on the small Village Thing label in 1970. The record very much reflects the influence of the foremost exponents of the style, the Incredible String Band, with its wavering harmonies and use of glockenspiel, vibes, dulcimer, kazoo, bells, and other miscellaneous instruments to complement the standard folk guitar. Non-members John Turner (bass) and Andy Leggett (woodwind) also played on the LP. It's something of a scaled-down spin on the Incredible String Band format, though, with less world music influence and more focus on the Hemingways' male-female harmonies. It's also one of the more precious and twee efforts in the genre. Although work was started on a second album, it was never completed. One track from the uncompleted album, "Fafnir and the Knights," did appear in 1972 on the Village Thing compilation Us, and also appears on the American CD reissue of The Sun Also Rises, on the Scenescof label. AMG.

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Donovan - Brother Sun, Sister Moon 1972

Upon his emergence during the mid-'60s, Donovan was anointed "Britain's answer to Bob Dylan," a facile but largely unfounded comparison which compromised the Scottish folk-pop troubadour's own unique vision. Where the thrust of Dylan's music remains its bleak introspection and bitter realism, Donovan fully embraced the wide-eyed optimism of the flower power movement, his ethereal, ornate songs radiating a mystical beauty and childlike wonder; for better or worse, his recordings remain quintessential artifacts of the psychedelic era, capturing the peace and love idealism of their time to perfection. Donovan Leitch was born May 10, 1946 in Glasgow and raised outside of London; at 18 he recorded his first demo, and in 1965 was tapped as a regular on the television pop showcase Ready, Steady, Go! He soon issued his debut single "Catch the Wind," earning the first round of Dylan comparisons with his ramshackle folk sound and ragamuffin look; the single nevertheless reached the U.K. Top Five, with a subsequent meeting between the two singer/songwriters captured in the classic D.A. Pennebaker documentary Don't Look Back.

Donovan's follow-up single, "Colours," was also a hit, and after making his American debut at the 1965 Newport Folk Festival, he issued Fairytale, his second and last LP for the Hickory label. Signing with Epic in 1966, he released his breakthrough album, Sunshine Superman, which in its exotic arrangements and pointedly psychedelic lyrical outlook heralded a major shift from his previous work; the title track topped the charts on both sides of the Atlantic, with the enigmatic "Mellow Yellow" reaching the number two spot a few months later. Donovan remained a chart fixture throughout 1967, generating a series of hits including "Epistle to Dippy," "There Is a Mountain," and "Wear Your Love Like Heaven"; that year he traveled to India alongside the Beatles to study with the Maharishi Mahesh Yogi, a journey which inspired him to renounce drug use and encourage his listeners to turn to meditation. The ambitious double album A Gift from a Flower to a Garden followed, and in 1968 Donovan resurfaced with The Hurdy Gurdy Man, scoring a Top Five smash with the hallucinatory title cut; the record also yielded the hit "Jennifer Juniper."

Barabajagal from 1969 generated Donovan's final Top 40 hit, "Atlantis"; for the title track, he collaborated with the Jeff Beck Group, with whom he also worked on 1970s Open Road. He then retreated to Ireland, emerging from a period of seclusion by starring in and scoring the 1972 film The Pied Piper; a pair of new LPs, Cosmic Wheels and Essence to Essence, appeared the following year to disappointing reviews and little commercial interest. Following 1974's 7-Tease, he spent the next years living quietly in California's Joshua Tree desert, mounting only a small club tour to promote 1976's Slow Down; a self-titled LP appeared a year later, and in the wake of 1983's Jerry Wexler-produced Lady of the Stars, he essentially retired from writing and recording altogether. The Donovan revival began in earnest in 1991 when Happy Mondays titled a song in his honor for their groundbreaking Pills 'n' Thrills & Bellyaches; he later toured with the group as well. Five years later, Donovan released his comeback LP, Sutras, helmed by producer du jour Rick Rubin. (The album had the misfortune to be released after Rubin's landmark Johnny Cash record, American Recordings and was virtually ignored or misunderstood by critics.) Donovan toured briefly to support Sutras and then went missing once again, playing out only sporadically. In 2004, however, he reappeared with the intimate and stylish Beat Cafe, a collection of nearly all-original songs produced by keyboardist John Chelew. Donovan also enlisted bassist Danny Thompson and drummer Jim Keltner to round out his quartet. The album featured a pair of covers, a spoken word rendition of poet Dylan Thomas' "Do Not Go Gentle," and a startling rendition of the traditional tune "The Cuckoo." AMG.

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Oasis - Oasis 1973

Light hippie folkrock with great male/female harmonies, strong tracks and a general uplifting quality about it. Pressed in Canada but the group was from Marin County and had help from David Crosby , who even on coke knew good music when he heard it. Although this album was pressed in Canada and lists no home base for the group on the cover, it is known that they were based in Marin County. The album, which is pop rock with male and female vocals, sounds like a cross between Pablo Cruise and later-day It's A Beautiful Day - which is defined as "psychedelic" by some record dealers in Europe. The group was previously known as RJ Fox, who saw a double CD issue of their early seventies material issued in Summer 1994: RJ Fox: Retrospective Dreams (Black Bamboo).

Shelly Fox was previously in Cookin Mama and Stephen Barncard also worked with Chet Nichols and David Crosby. Kelly Bryan had earlier been in the short-lived Grootna, and later played on a couple of albums by Jesse Colin Young.

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Nara Leão - Nara Leão 1968

Nara Leão, the Musa da Bossa Nova (Bossa Nova's Muse, as she is affectionately known), was a prominent figure in bossa nova. She didn't restrict herself as a bossa nova singer, though, and was one of the first artists to engage in the movement later known as "canção de protesto" (protest song), an artistic movement which denounced military dictatorship in Brazil. She launched the careers of such composers/interpreters as Chico Buarque, Zé Keti, Martinho da Vila, Edu Lobo, Paulinho da Viola, and Fagner. An international performer in spite of her short, uneducated voice, she left an expressive discography even though death caught her by surprise at such a precocious age.

When she was a year old, she and her family left Vitória for Rio. In 1954, she took her first violão classes with Solon Ayala and Patrício Teixeira, and then with Roberto Menescal and Carlos Lyra. As an amateur, she participated in the first university presentations where bossa nova was coming together as an organized movement. She performed with names such as João Gilberto, Luiz Eça, Ronaldo Bôscoli (with whom she would have a love affair and later become his fiancée), Carlos Lyra, and others. At that time, she was a reporter for Rio's newspaper Última Hora. The ample apartment of her complacent parents in Rio's south side (zona sul), Copacabana, Posto 4, became a meeting point for musicians, which led many to erroneously establish it as a bossa nova cradle (actually, the cradle was, to some extent, the Cantina do César, but even more appropriately, the Plaza nightclub around 1952). In 1963, she debuted as a professional, working in the musical comedy Pobre Menina Rica, by Vinícius de Moraes and Carlos Lyra. While working on the play, they also acted at the Carioca nightclub Au bon Gourmet. She also debuted in that year in recording studios, singing "Naná" (Moacir Santos), which was included in the movie soundtrack to Ganga Zumba, Rei dos Palmares (Cacá Diegues). She also recorded two tracks on Carlos Lyra's LP Depois do Carnaval (Philips): the marcha-rancho "Marcha da Quarta-Feira de Cinzas" (Carlos Lyra/Vinícius de Moraes) and the samba-jazz "Promessas de Você" (Carlos Lyra/Nelson Lins e Barros). Also in 1963, she toured Brazil, Japan, and France with Sérgio Mendes. When they toured the Northeast, Leão was introduced by Roberto Santana to the so-called Vila Velha Gang, the baianos Caetano Veloso, Gilberto Gil, Gal Costa, and Maria Bethânia. Her first LP (Nara), recorded by Elenco, launched the sambista do morro (sambista of the hill) Zé Keti into the middle-class circle with great success with his song "Diz que Fui por Aí" (with H. Rocha). She also reintroduced to the same circle the older sambista do morro Cartola ("O Sol Nascerá," together with Elton Medeiros). Along with these two songs, which became all-time hits, another two songs recorded on that album had the same success: "Consolação" (Baden Powell/Vinícius de Moraes) and "O Morro" (Carlos Lyra/Gianfrancesco Guarnieri). On that album, she evidenced her social concerns (still a bit naïve), choosing a non-bossa repertoire. These concerns were even more evident in the following phase of her career when a coup took power over Brazil and installed the military dictatorship; this event provoked her to actively denounce it. Her second album, Opinião de Nara (Leão's opinion, Philips, 1964), brought "Opinião" (Zé Keti). In December 1964, she made a great success with the show Opinião (Gianfrancesco Guarnieri/Augusto Boal) at the Teatro Opinião (Rio). The show brought together Leão, a middle-class young girl, Zé Keti, representing the morro people, and João do Vale, from the poor region of Northeast. The show was such a longtime success that it robbed the middle-class audiences making the important samba redoubt Zicartola profitable, which was owned by Cartola himself; it closed its doors soon afterwards. It also killed bossa nova in Brazil. Leão delivered passionate speeches against bossa nova in that time, calling it an "alienating" movement. At the same time, the instrumental backing of the show Opinião was pure bossa, as can be heard on a CD reissued in 1994, informing that the rupture, at that time, was more ideological than musical. In 1965, she presented Chico Buarque with his songs "Pedro Pedreiro" (strong social thematic) and "Olê, Olá." Also in that year, she participated in the Teatro Opinião show Liberdade, Liberdade (freedom, freedom), by Flávio Rangel/Millôr Fernandes. She also appeared on Elis Regina/Jair Rodrigues' regular TV show O Fino da Bossa, which eventually also had Chico Buarque, Gilberto Gil, Caetano Veloso, Edu Lobo, Tom Jobim, Vinícius de Moraes, and Ivan Lins. In 1966, she recorded her album Manhã de Liberdade (Philips). Defending Chico Buarque's "A Banda," together with him at TV Record's II FMPB (1966, São Paulo), she won first place (together with "Disparada," by Geraldo Vandré and Théo de Barros). Leão recorded "A Banda," together with the first song composed by the duo Gilberto Gil/Capinam, "Ladainha." The next year, she sang, together with its author, "A Estrada e o Violeiro" (Sidney Miller), at the III FMPB. The song was awarded for Best Lyrics. Between 1966 and 1967, she and Chico Buarque had a regular weekly TV show (Pra Ver a Banda Passar, TV Record). In 1966, she was almost framed in the National Security Law by the War department due to a direct critique against the military in an interview with the Carioca newspaper Diário de Notícias ("our military forces are of no avail"). In 1967, she recorded the LP Canto Livre de Nara. In 1968, she joined the Tropicalista movement, joining Caetano Veloso, Gilberto Gil, Rogério Duprat, Tom Zé, Capinam, Os Mutantes, Torquato Neto, and Gal Costa on the LP Tropicália ou Panis et Cirsensis. The same year, she recorded her LP Nara Leão, on which she sang Ernesto Nazareth's "Odeon" that had Vinícius de Moraes' lyrics written especially for her. The LP, released at the Carioca nightclub Le Bilboquet, brought two of Veloso's compositions, ("Mamãe Coragem" and "Deus vos Salve Esta Casa Santa," both with Torquato Neto) and the arrangements of Rogério Duprat, which helped establish a connection with Tropicalia. She had decided to stay out of television for a whole year, for not agreeing with the short vision of art of the producers. In the next year, she moved to France and recorded another LP. In 1971, she recorded Dez Anos Depois (Polydor) in Paris and then went back to Brazil. In the next year, she appeared in the film Quando o Carnaval Chegar (by Cacá Diegues, her husband), together with Chico Buarque and Maria Bethânia. In the following years, she began her psychology college studies, leaving music aside. In that period, she made only sporadic appearances on shows and albums from other artists, such as Fagner. In the late '70s, she released her LP Meus Amigos são um Barato (Philips, 1977), with appearances by Tom Jobim, Carlos Lyra, Edu Lobo, Chico Buarque, Caetano Veloso, Gilberto Gil, Roberto Menescal, and others. As she learned she had cancer, she returned with full impetus to her career, recording another 11 LPs until 1988. In 1997, she was the theme of the first play by renowned moviemaker Júlio Brassane, Vida-Névoa-Nada. AMG. Thanks to sacundinbenblog.blogspot.com!

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Tempest - Living in Fear 1974

Forged by Colosseum drummer Jon Hiseman, progressive jazz-rock quartet Tempest appeared on the scene in 1972. Paul Williams, who had done time on bass with both John Mayall's Bluesbreakers and Zoot Money's Big Roll Band and who had sung for Juicy Lucy, provided vocals, jazz fusion legend Allan Holdsworth manned the guitar, and fellow Colosseum member Mark Clark supplied the bass. The group released its self-titled debut in 1973. Williams left the following year and was replaced by guitarist/keyboardist/vocalist Ollie Halsall, who had recorded with Timebox, Brian Eno, and Scaffold. The resulting Living in Fear was released in 1974. The group split in 1975, with the members splintering off into various bands, including Colosseum II, Mountain, Uriah Heep, and Boxer. Castle Music UK released the retrospective Living in Fear: The Anthology in 2005.AMG.

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