Tymepiece - Sweet Release 1971

Tymepiece evolved out of the '60s Australian band the Blue Diamonds, who did one of the great-'60s punk singles from Australia (or indeed any country), "I Want, Need, Love You." By the late 1960s, Tymepiece had developed a more mature but duller sound, influenced by the psychedelic and progressive trends of the day. Their sole album, 1971's Sweet Release, is a wide-ranging but unexceptional record of typical, early-'70s not-mainstream-but-not-way-underground rock. When it was reissued on CD by the Australian Vicious Sloth Collectables label, five bonus cuts were added from non-LP singles recorded between 1968 and 1971. AMG.

listen here

Tyrone Davis - Can I Change My Mind 1969

After launching his career as a blues singer, Tyrone Davis helped usher in a new era for Chicago soul with his Dakar debut, Can I Change My Mind, teaming with arrangers Don Myrick and Willie Henderson to create a collection of lilting, effervescent R&B grooves sweeter than sugar. Although entries like "Knock on Wood," "Slip Away," and "Call on Me" are rooted in the earthy, rough-edged traditions of Memphis soul, Can I Change My Mind is strikingly urbane: with its loping rhythm, squiggly guitar licks, and buoyant horns, the smash title cut embodies the album in microcosm, but even the sad songs soar, lifted by the sheer vibrancy of the arrangements. And while you can pull the boy out of the blues, you can't pull the blues out of the boy -- Davis' poignant vocals wring genuine emotion from the lyrics but deftly avoid theatricality at every turn. AMG.
 

listen here

WigWam - Being 1974

Wigwam have the rare distinction of being the only '70s band from Finland to have made any impact outside the country, as well as being an incubator for the country's top prog musicians -- the only catch was that the anticipated massive breakthrough never happened. 

Being was their masterpiece, a rock opera of progressive ideology and pop music. Imagine John Lennon, collaborating with Stevie Wonder, circa Songs in the Key of Life-era. AMG.
 

listen here

Phillip Ranelin/ Wendell Harrison - A Message From The Tribe 1972

 

Trombonist Phil Ranelin was one of the Detroit jazz scene's unsung heroes, releasing several excellent, politicized albums that blended post-Coltrane avant-garde jazz, post-Bitches Brew psychedelia, hard bop, funk, and African rhythms. Ranelin was born and raised in Indianapolis, and later moved to New York and then Detroit, where he started out as a session man for Motown artists like Stevie Wonder. In 1971, along with saxophonist Wendell Harrison, Ranelin co-founded a band, magazine, and record label conglomeration known as the Tribe, which used experimental jazz as a vehicle to raise African-American political consciousness. That year, Ranelin also issued his first album as a leader, Message from the Tribe. A fine clarinetist and tenor saxophonist, Wendell Harrison has been an important force in Detroit during the past several decades. He began on clarinet when he was seven, started playing tenor in high school, and studied with Barry Harris. In 1960, he moved to New York, playing with Jack McDuff, Elvin Jones, Sonny Stitt, Grant Green, and Sun Ra, in addition to being in Hank Crawford's band for over four years. In 1970, Harrison moved back to Detroit, started doing session work, and became a jazz educator. He has formed several labels (Tribe, Rebirth, and WenHa), recording frequently and utilizing such sidemen as Leon Thomas, Marcus Belgrave, Kirk Lightsey, Charles Tolliver, and (with his Clarinet Ensemble) James Carter. He has several standouts in his catalog. Among them are An Evening with the Devil (1975), Reawakening (1985), Forever Duke (1991), Eighth House: Riding with Pluto (2002). In the fall of 2012, Luv N' Haight-reissued the highly regarded 1981 album Organic Dream.  AMG.

listen here

Mortimer - Mortimer 1968

Mortimer was a short-lived psych-pop group that originally hailed from New York. In 1968, the bandmembers found themselves in London, working with record producer Daniel Secunda (brother of Procol Harum manager Tony Secunda) after signing a production deal with Secunda's B.B. & D. Productions, Inc. The group's self-titled album, from which two singles were released, was released by Philips. There are several standout tracks, including the Baroque "Where Dragons Guard the Doors" and the softer vocal harmonies of "Singing to the Sunshine" and "Life's Sweet Music." AMG.

listen here

Wayne Shorter - Juju 1965

Fulfilling the potential promised on his Blue Note debut, Night Dreamer, Wayne Shorter's JuJu was the first great showcase for both his performance and compositional gifts. Early in his career as a leader, Shorter was criticized as a mere acolyte of John Coltrane, and his use of Coltrane's rhythm section on his first two Blue Note albums only bolstered that criticism. The truth is, though, that Elvin Jones, Reggie Workman, and McCoy Tyner were the perfect musicians to back Shorter. Jones' playing at the time was almost otherworldly. He seemed to channel the music through him when improvising and emit the perfect structure to hold it together. Workman too seemed to almost instinctively understand how to embellish Shorter's compositions. McCoy Tyner's role as one of the greatest jazz pianists of all time was played here as well, and his light touch and beautiful, joyful improvisations would make him a much better match for Shorter than Herbie Hancock would later prove to be. What really shines on JuJu is the songwriting. From the African-influenced title track (with its short, hypnotic, repetitive phrases) to the mesmerizing interplay between Tyner and Shorter on "Mahjong," the album (which is all originals) blooms with ideas, pulling in a world of influences and releasing them again as a series of stunning, complete visions. AMG.

listen here

Satin Whale - Desert Places 1974

Satin Whale formed in 1971 and featured here is their rather spirited first album, Desert Places, released in 1974. A collection of mostly organ and guitar instrumentals that sound like they have rehearsed arrangements but maintain excitement throughout with memorable tones and musicianship. There’s sporadic vocals, flute and sax from multi-instrumentalist Dieter Roesberg, driving grinding organs from Gerard Dellman with fluid bass lines from Thomas Brück (I think he may be the lead singer, too). The line up is completed by the handy Horst Schöffgen on drums.

listen here

Quicksilver Messenger Service - Quicksilver Messenger Service 1968

Quicksilver Messenger Service's debut effort was a little more restrained and folky than some listeners had expected, given their reputation for stretching out in concert. While some prefer the mostly live Happy Trails, this self-titled collection is inarguably their strongest set of studio material, with the accent on melodic folk-rock. Highlights include their cover of folksinger Hamilton Camp's "Pride of Man," probably their best studio track; "Light Your Windows," probably the group's best original composition; and founding member Dino Valenti's "Dino's Song" (Valenti himself was in jail when the album was recorded). "Gold and Silver" is their best instrumental jam, and the 12-minute "The Fool" reflects some of the best and worst traits of the psychedelic era. AMG.

listen here

Uriah Heep - Very 'Eavy...Very 'Umble 1970

This album was the debut of Uriah Heep, an English band that would become one of the Titans of the '70s heavy metal sound. Despite their eventual hard-rocking reputation, Very 'Eavy... Very 'Umble finds the band trying on different stylistic hats as they work towards finding their own sound. At this juncture, their music falls halfway between the crunch of heavy metal and the dramatic arrangements of prog rock. When this style jells, the results are quite powerful: "Dreammare" blends psychedelic lyrics and a complex vocal arrangement with a stomping beat from the rhythm section to create an effective slice of prog metal fusion while "I'll Keep on Trying" presents a head-spinning, complex tune with enough riffs, hooks, and tempo changes to fill three or four songs. However, the album's finest achievement is "Gypsy": this heavy metal gem nails the blend of swirling organ riffs, power chords, and leather-lunged vocal harmonies that would define the group's classic tunes and remains a staple of the band's live performances today. Unfortunately, the focus of the album is diluted by some unsuccessful experiments: "Lucy Blues" is a dull, unmemorable stab at a Led Zeppelin-style heavy blues tune and "Come Away Melinda" is an overproduced, melodramatic cover that tries to marry the band's full-throttle musical style to a message song. Despite these occasional moments of stylistic schizophrenia, Very 'Eavy... Very 'Umble is a likable album that shows the promise that Uriah Heep would soon realize. Those unfamiliar with Uriah Heep may want to try out Demons and Wizards or a compilation first, but anyone with a serious interest in Uriah Heep or the roots of heavy metal will find plenty to like on Very 'Eavy... Very 'Umble. The American edition of this album was retitled Uriah Heep and omits "Lucy Blues" in favor of the track "Bird of Prey" from Salisbury. AMG.

listen here

Tamburlaine - Say No More 1972

 

Tamburlaine's Say No More it's the debut album by this New Zealand group was very much a folk-rocky relic of the late hippie era. The briskly strummed guitars, ebullient vocal harmonies, and relentlessly sunny lyrical glow of some cuts are like those of guys who've taken Traffic's "You Can All Join In" as their manifesto. Because it's all done without a pinch of irony, it'll drive those with a limited taste for feel-good rock up the wall and out the door. If you do enjoy gung ho folk-rock with a can-do rural flavor, though, it's well-executed, but derivative. There are echoes of not only Traffic at their most pastoral, but also Crosby, Stills & Nash's harmonizing on songs like "Wooden Ships," as well as (less expectedly) some of the cartwheeling constructions of Yes -- a band that did have some folk-rock influences, though those haven't been widely acknowledged. Medieval melodic influences also pop up, as do, perhaps, the very lightest shades of the folkiest moments of the late-'60s Beatles. AMG.

listen here

The Detroit Emeralds - You Want It, You Got It 1972

 

The Detroit Emeralds are reminiscent of funky the Four Tops; while their lead didn't have Levi Stubbs' mesmerizing baritone, their music had a similar feel. Centered around their R&B hit "You Want It, You Got It," this LP of the same title illustrates another side of Detroit. The title track smokes from the first second to the fade. "Feel the Need in Me" is slower but as funky -- no doubt their roots (Little Rock, AR) gave the guys that Southern slant that was absent from most Detroit recordings. The most charming cut for many is "Baby Let Me Take You (In My Arms)" with its sloop beat and cool strutting rhythms. A few ballads are mixed with dancers like "I Bet You Get the One You Love" for a well-rounded set. An English recording firm has reissued this LP with another Detroit Emeralds LP, Do Me Right. Two for the price of one. AMG.

listen here

Satisfaction Unlimited - Think Of The Children 1972

This release by the obscure combo, Satisfaction Unlimited, has the unfortunate accolade of being the final long player release on the Hot Wax Records imprint. Formed originally by the legendary Holland-Dozier-Holland team in 1969, Hot Wax ran into financial difficulties in 1973 whereupon they concentrated their efforts on the Invictus outlet. However, the roots of the band actually pre-date the H-D-H collaboration (H-D-H’s first Motown release being ‘Dearest one’ in 1962). As The Marvels, they originated in the backstreets of Washington DC, comprising of Sam Gilbert (lead), James “Junior” Isom (second tenor), Ronald Boyd (baritone), and James Mitchell (bass). In 1958, they ventured to New York to record the skip-a-long pleaser, ‘I Shed So Many Tears’ with James Isom on lead. The ensuing rush of tumbleweed meant the band didn’t venture back to the studio for another 3 years, with the tuneful doo-wop ballad, ‘For Sentimental Reasons’, and the similarly slanted ‘Wedding Bells’ a year later, this time under the name of The Senators (just check out that crazy lazy piano playing!).
Several personnel changes later, they returned as The Satisfactions around ‘66 with a string of 45s on the Smash and Lionel labels. Some mighty fine and feisty tracks were included among these sides, including the urgent ‘Use me’ (love this!) and ‘Take it or leave it’. They finally hit paydirt with ‘This Bitter Earth’ in 1970, reaching nº36 on the R&B Charts. This was consolidated by the radiant, midtempo ‘One light, two lights’, peaking at nº21 a few months later. A gorgeous track, by the way. They changed their name to Satisfaction Unlimited a year later, the personnel now standing at Lorenzo Hines (lead tenor), James Isom (second tenor), Earl Jones (baritone), and Fletcher Lee (bass), linking up with Hot Wax in ‘72.
The years spent fortifying their sound certainly paid dividends.

listen here

Gary Wilson - You Think You Really Know Me 1977

Gary Wilson's You Think You Really Know Me may be the weirdest album released in 1977; it's also one of the most influential. The impact of this quirky lo-fi record can never be truly measured. Not many people are aware of it; however, it inspired Beck's sonic collages and showed college radio stations that home tapings shouldn't be ignored. Wilson recorded You Think You Really Know Me in his parents' basement, and it certainly has an intimate feel. On "6.4 = Make Out," Wilson sounds like he's whispering in your ear. With a voice reminiscent of Lou Reed's, Wilson aches like a sexually frustrated Barry White. Porno-movie synthesizers create a sleazy atmosphere as Wilson reaches new heights of emotional intensity when he bellows, "She's real/She's so real," at the track's end. A person is left wondering if the girl actually exists or if he's just trying to convince himself that she does. Even more unsettling is "Loneliness," wherein Wilson confesses in a distorted, psychotic voice, "Sometimes I wish I were dead," followed by samples of running water and a telephone operator. But this isn't a gloomy LP. "You Keep on Looking" and "And Then I Kissed Your Lips" utilize chirpy new wave keyboards years before they became fashionable. Wilson is having fun on You Think You Really Know Me, and his enjoyment is infectious, especially when his lunatic personality hogs the spotlight. AMG.

listen here

Carol Of Harvest - Carol Of Harvest 1978

Founded in Cadolzburg, Bayern, Germany in 1978 - Alex Schmierer recorded under the revived moniker in 2008. One of the many German bands to release a single album on a private label and watch it grow into a collector's dream. Carol of Harvest played a dreamy blend of Progressive Rock and Folk with female vocals that might be compared with Mellow Candle and early Clannad mixed with Jane, Pentangle and Renaissance. The music has the added edge of long arrangements with Moog synth and acid guitar solos, and in reality has little to do with Krautrock.

 listen here

Barbara Mason - Transition 1974

An interesting minor soul performer, Barbara Mason initially focused on songwriting when she entered the music business in her teens. As a performer, though, she had a huge hit in 1965 with her self-penned "Yes, I'm Ready" (number five pop, number two R&B), a fetching soul-pop confection that spotlighted her high, girlish vocals. One of the first examples of the sweet, lush sound that came to be called Philly soul, she had modest success throughout the rest of the decade on the small Arctic label, reaching the pop Top 40 again in 1965 with "Sad, Sad Girl."

In the early and mid-'70s, Mason toughened her persona considerably, singing about sexual love and infidelity with a frankness that was uncommon for a female soul singer in songs like "Bed and Board," "From His Woman to You," and "Shackin' Up." Sweet soul continued to be her groove, and she continued to write some of her material. But the production, as it was throughout soul in the '70s, was more funk-oriented, and at times Mason would interrupt her singing to deliver some straight-talkin' raps about romance. Curtis Mayfield produced her on a cover of Mayfield's "Give Me Your Love," which restored her to the pop Top 40 and R&B Top Ten in 1973; "From His Woman to You" and "Shackin' Up" were also solid soul sellers in the mid-'70s. After leaving Buddha Records in 1975, she only dented the charts periodically, with "I Am Your Woman, She Is Your Wife" (1978), "Another Man" (1984), and a couple of other singles.

listen here