Big Sleep - Bluebell Wood 1971

Neither their 1968 debut Crossroads of Time nor their proggier, Quincy Jones produced follow-up In Fields of Ardath brought the commercial success Eyes of Blue so sought. Although the Welsh quintet were losing hope, their label head and manager Lou Reizener wasn't throwing in the towel yet. In his view, only a new moniker stood in the way of stardom; thus Eyes were renamed Big Sleep and set to work on their third and final album, 1971's Bluebell Wood.

Even in a time of feverish experimentation, the group had an incredibly unique hybrid sound that seamlessly stitched together pop elements, classical, R&B and blues, psychedelia and rock with incredibly tight and egalitarian arrangements. That latter was important, as every bandmember was a virtuoso, and thus each deserved the space to shine. Unusually, the group boasted two keyboardists, but forget comparisons to the likes of ELP, as Big Sleep's numbers often counterpointed lavish organ passages with R&B styled piano or electric keyboard, underpinning their numbers with a jazzy or bluesy aura. Acoustic guitars further enhanced the rich atmospheres, and usually followed the organ's lead. The electric guitars arrived well into the pieces, a further musical counterpoint that accentuated psychedelic organ passages or pulled the numbers into rock. Although there's an improvisational feel to it all, the songs are, in fact, very tightly structured, including the fiery guitar solos that wind around the keyboards. The band's pop sensibilities are evident too, especially on the catchy chorus of "Aunty James," passages within "Death of a Hope," and particularly on the clap along R&B of "When the Sun Was Out."

However, it was the epic eleven-plus-minute title track that sent prog rock fans wild, a showcase of Big Sleep's many styles and talents. Filled with the kind of dynamics that any modern emo band would die for, quiet passages give way to grand up-tempo segments, downbeat blues shift into raging psychedelia, and strings pile onto ballads before the band breaks into rock and the splendid vocals fill the air: Bluebell Wood had it all. Yet the album still failed to excite the masses. The band never even took the stage under their Big Sleep name, and folded soon after the set's release. So much talent would eventually find homes elsewhere (notably with Gentle Giant and Man), but it's no wonder the album has been long sought after by collectors. Now remastered and sporting its original artwork, everyone can venture back into this stunning Wood. AMG.

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Miles Davis - Miles Smiles 1966

With their second album, Miles Smiles, the second Miles Davis Quintet really began to hit their stride, delving deeper into the more adventurous, exploratory side of their signature sound. This is clear as soon as "Orbits" comes crashing out the gate, but it's not just the fast, manic material that has an edge -- slower, quieter numbers are mercurial, not just in how they shift melodies and chords, but how the voicing and phrasing never settles into a comfortable groove. This is music that demands attention, never taking predictable paths or easy choices. Its greatest triumph is that it masks this adventurousness within music that is warm and accessible -- it just never acts that way. No matter how accessible this is, what's so utterly brilliant about it is that the group never brings it forth to the audience. They're playing for each other, pushing and prodding each other in an effort to discover new territory. As such, this crackles with vitality, sounding fresh decades after its release. And, like its predecessor, ESP, this freshness informs the writing as well, as the originals are memorable, yet open-ended and nervy, setting (and creating) standards for modern bop that were emulated well into the new century. Arguably, this quintet was never better than they are here, when all their strengths are in full bloom. AMG.

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Karen Beth – The Joys Of Life 1969

Karen Beth's first album, The Joys of Life, is probably one of the most obscure LPs to make the Billboard Top 200 (where it peaked at number 171) in the late 1960s. In retrospect, it's a little surprising that the record even got that high, not because of any flaws in the music itself, but because the record's not too commercial or radio-friendly, even as it reflected late-'60s trends in folk-rock, the emerging singer/songwriting movement, and psychedelia. Her voice, to start with, is pretty odd, sounding a little like a pinched, more folk-country-influenced, slightly robotic Grace Slick who's deliberately holding back and not opening her mouth or throat too widely. Karen Dalton is a more cult-ish reference point, though the vocals here are more pop/rock-friendly, and the material based in contemporary folk-rock, not traditional folk. It'll be an acquired taste for some listeners, but most of the songs do have an interesting, fairly attractive sad, haunting quality, if kind of detached and observational in tone. In addition to the acoustic guitars common to many folk-rock-based singer/songwriters of the era, there are ghostly tinkles, drones, strings, and electric guitar shimmers in the arrangements, somewhat in the manner of some Elektra Records folk-rock productions of the time (though this came out on Decca, not Elektra). And in the middle of this comes a wholly a cappella performance, "Song to a Shepherd," that's as spooky as anything else on the record, sounding as if it's being sung from an isolated cave. While the record's not up to the best such obscure albums of its style in the era, at times it achieves some genuine downbeat eerieness, and is more interesting than some other neglected records of its type that have gotten much more attention from collectors. AMG.

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The Police - Outlandos D´Amour 1978

While their subsequent chart-topping albums would contain far more ambitious songwriting and musicianship, the Police's 1978 debut, Outlandos d'Amour (translation: Outlaws of Love) is by far their most direct and straightforward release. Although Sting, Andy Summers, and Stewart Copeland were all superb instrumentalists with jazz backgrounds, it was much easier to get a record contract in late-'70s England if you were a punk/new wave artist, so the band decided to mask their instrumental prowess with a set of strong, adrenaline-charged rock, albeit with a reggae tinge. Some of it may have been simplistic ("Be My Girl-Sally," "Born in the '50s"), but Sting was already an ace songwriter, as evidenced by all-time classics like the good-girl-gone-bad tale of "Roxanne," and a pair of brokenhearted reggae-rock ditties, "Can't Stand Losing You" and "So Lonely." But like all other Police albums, the lesser-known album cuts are often highlights themselves -- the frenzied rockers "Next to You," "Peanuts," and "Truth Hits Everybody," as well as more exotic fare like the groovy album closer "Masoko Tanga" and the lonesome "Hole in My Life." Outlandos d'Amour is unquestionably one of the finest debuts to come out of the '70s punk/new wave movement. AMG.

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Paul Brett's Sage - Jubilation Foundry 1971

Nicky Higginbottom departed Paul Brett's Sage after the release of the band's eponymous debut album, and with her went the haunting flute that gave much of the album such a rich, pastoral sound. But the band was already moving in a new direction, exploring rock's roots and the genre's many permutations. Jubilation Foundry welds Sage's varied influences onto their sleeves, from "Cottage Made for Two," an homage to the Everly Brothers, to the gospel fired "Help Me Jesus" and the Stax inspired "Hold My Hand Mother." There are tributes to Southern blues and Southern rock, nods to singer/songwriters Cat Stevens and Harry Nilsson, and even a tip of the hat to the Beatles. With the group here sporting rich harmonies, the emphasis is on great songs in a variety of musical veins and moods, with singalong choruses, memorable melodies, and flashy musicianship evident throughout the album. AMG.

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Nino Ferrer - Nino and Radiah et le Sud 1974

Taking into account Nino Ferrer's personal view of his discography, the album Nino and Radiah should be perceived as his third album (although chronologically this was in fact number seven). It followed the prog rock approach of 1971's Métronomie and the rock & roll leanings of the Mickey Finn collaboration Nino Ferrer & Leggs from 1973. The album is partly named after Afro-American singer Radiah Frye, and her pinup presence flanking Ferrer substantially upgraded the original album cover. Accompanied by the Lafayette Afro Rock Band (aka Ice), Ferrer set out on yet another shape-shifting exercise. Building on the groovy vibe of Métronomie, the album ultimately steers toward majestically orchestrated, laid-back funk. Entirely different from his earlier take on Southern soul, the result requires several listenings before it gently entangles your subconscious and reveals its addictive qualities. Reminiscent of the New Orleans-inspired funk of Little Feat and California singer/songwriters from the same era, it's perfect company for driving the French countryside or West Coast highways. It was recorded in November 1973 and sung in English with one exception. Ferrer's longtime accomplice Bernard Estardy rearranged the track "South," adding some widescreen organ touches. The resulting "Le Sud" had huge commercial appeal, much to the chagrin of Ferrer: he felt the artistic compromise of aiming at chart success had rendered everything else on the album pointless in a similar way to what had happened previously to Métronomie and its leadoff track, "La Maison Près de la Fontaine." However, the royalties did enable him to buy a 15th century fortress in the Quercy region, where he would retreat between albums and divide his time between his family and painting. "Le Sud"/"South" refers to a Louisiana-style mansion situated in Italy: a pleasant and idyllic place where the moody Ferrer seeks refuge from his dark side. Both versions serve as bookends to the album, which works best as a whole. Still, standout tracks are the funky "Mint Julep" (a relative of the Mojito cocktail) with its fuzzy guitar and the lengthy but mesmerizing "Hot Toddy." "The Garden" with its lazy organ and the bongo-laden "New York" sound fairly close to what the French band Air would build an entire career on. Remaining a relatively undiscovered gem, Nino and Radiah is in fact up there with classics like Melody Nelson and Polnareff's. AMG.

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Joachim Kuhn - Hip Elegy 1977

Although not a free jazz musician, per se, Kuhn has been an avant-gardist; he began attempting a fusion of contemporary classical elements with jazz very early in his career. Kuhn's intense virtuosity is a reflection of his training. He studied classical composition and piano for 12 years, beginning when he was a small child. He performed as a classical pianist up until 1961, at which point he began playing in a Prague-based jazz quintet. He led a trio from 1962-1966, and in 1964 began playing with his much-older brother Rolf Kuhn, an accomplished clarinetist. In the '70s, Joachim Kuhn led his own groups, and played with the violinist Jean-Luc Ponty. Kuhn had a measure of commercial success in the '70s. His star faded a bit in the '80s, but Kuhn kept active, playing challenging forms of jazz and recording occasionally. A 1997 release, Colors: Live From Leipzig, a duo with Ornette Coleman, helped fuel new interest in Kuhn; both men were in top form and the album received excellent reviews. AMG.

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Lou Donaldson - Cosmos 1971

Lou Donaldson has long been an excellent bop altoist influenced by Charlie Parker, but with a more blues-based style of his own. His distinctive tone has been heard in a variety of small-group settings, and he has recorded dozens of worthy and spirited (if somewhat predictable) sets throughout the years.

Donaldson started playing clarinet when he was 15, soon switching to the alto. He attended college and performed in a Navy band while in the military. Donaldson first gained attention when he moved to New York and in 1952 started recording for Blue Note as a leader. At the age of 25, his style was fully formed, and although it would continue growing in depth through the years, Donaldson had already found his sound. In 1954, he participated in a notable gig with Art Blakey, Clifford Brown, Horace Silver, and Tommy Potter that was extensively documented by Blue Note and that directly predated the Jazz Messengers. However, Donaldson was never a member of the Messengers, and although he recorded as a sideman in the '50s and occasionally afterwards with Thelonious Monk, Milt Jackson, and Jimmy Smith, among others, he has been a bandleader from the mid-'50s up until the present.

Donaldson's early Blue Note recordings were pure bop. In 1958, he began often utilizing a conga player, and starting in 1961, his bands often had an organist rather than a pianist. His bluesy style was easily transferable to soul-jazz, and he sounded most original in that context. His association with Blue Note (1952-1963) was succeeded by some excellent (if now-scarce) sets for Cadet and Argo (1963-1966). The altoist returned to Blue Note in 1967 and soon became caught up in the increasingly commercial leanings of the label. For a time, he utilized an electronic Varitone sax, which completely watered down his sound. The success of "Alligator Boogaloo" in 1967 led to a series of less interesting funk recordings that were instantly dated and not worthy of his talent.

However, after a few years off records, Lou Donaldson's artistic return in 1981 and subsequent soul-jazz and hard bop dates for Muse, Timeless, and Milestone have found the altoist back in prime form, interacting with organists and pianists alike and showing that his style is quite timeless. AMG.

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N.S.U. - Turn on or Turn me Down 1969

Originally released in 1969 on Stable records (think Sam Gopal), this is heavy LSD-laden progressive rock with some great guitar playing. Unfortunately this obscure Scottish band recorded just this one (now beyond rare) album before drifting into anonymity. Thanks mygeneration60s.blogspot.com

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Jane Birkin - Lolita Go Home 1975

Though she looks incredibly sexy on the cover, listeners forced to examine the material between the sleeves here won't find Jane Birkin quite so attractive. Lolita Go Home balances a few lightweight French pop songs -- most written and produced by Serge Gainsbourg -- with the American pop standards "What Is This Thing Called Love?," "Love for Sale," "Where or When," and "There's a Small Hotel." Perhaps the language barrier prevents critical thought, since the French songs are done comparatively well. When Birkin takes on songs not written especially for her narrow range, however, the entire album unravels in a mess of amateurish singing. Over a slinky porn-film production, Birkin's breathy, off-key delivery on "What Is This Thing Called Love?" and "Love for Sale" positively slaughters a pair of the best pop songs ever written in English. True, Birkin's voice improved later on in her career (she later treated "Love for Sale" with much more professionality), but the only redeemable aspect of this mid-'70s excursion is -- you guessed it -- the artwork. AMG.

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Midnight Sun - Walking Circles 1972

Midnight Sun were a jazz-rock/fusion group from Denmark, whose style is influenced by such acts as Traffic, Burnin' Red Ivanhoe, and later on, Blood Sweat and Tears. They first started out as Rainbow Band, but soon had to change their name, after it was found that a Canadian group had already taken it. They released four studio albums during their career, the first two or three probably being the more famous. Their albums are also of serious value to collectors and were all designed by the famous Roger Dean.

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Pink Floyd - More (OST) 1969

Commissioned as a soundtrack to the seldom-seen French hippie movie of the same name, More was a Pink Floyd album in its own right, reaching the Top Ten in Britain. The group's atmospheric music was a natural for movies, but when assembled for record, these pieces were unavoidably a bit patchwork, ranging from folky ballads to fierce electronic instrumentals to incidental mood music. Several of the tracks are pleasantly inconsequential, but this record does include some strong compositions, especially "Cymbaline," "Green Is the Colour," and "The Nile Song." All of these developed into stronger pieces in live performances, and better, high-quality versions are available on numerous bootlegs. AMG.

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Creedence Clearwater Revival - Willy And The Poor Boys 1969

Make no mistake, Willy & the Poor Boys is a fun record, perhaps the breeziest album CCR ever made. Apart from the eerie minor-key closer "Effigy" (one of John Fogerty's most haunting numbers), there is little of the doom that colored Green River. Fogerty's rage remains, blazing to the forefront on "Fortunate Son," a working-class protest song that cuts harder than any of the explicit Vietnam protest songs of the era, which is one of the reasons that it hasn't aged where its peers have. Also, there's that unbridled vocal from Fogerty and the ferocious playing on CCR, which both sound fresh as they did upon release. "Fortunate Son" is one of the greatest, hardest rock & rollers ever cut, so it might seem to be out of step with an album that is pretty laid-back and friendly, but there's that elemental joy that by late '69 was one of CCR's main trademarks. That joy runs throughout the album, from the gleeful single "Down on the Corner" and the lazy jugband blues of "Poorboy Shuffle" through the great slow blues jam "Feelin' Blue" to the great rockabilly spiritual "Don't Look Now," one of Fogerty's overlooked gems. The covers don't feel like throwaways, either, since both "Cotton Fields" and "The Midnight Special" have been overhauled to feel like genuine CCR songs. It all adds up to one of the greatest pure rock & roll records ever cut. AMG.

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