Wake - 23-59 (1970)

Recording for the independent "swinging London" label Carnaby, The Wake actually got to appear on 'Top Of The Pops' to sing their Boys In The Band 45, which was chosen for them by concert promoter Mervyn Conn. It wasn't a memorable performance and the single flopped in the UK, as did their other 45s and album, which are best forgotten. The band had a better fortune in Japan, however, where Live Today Little Girl was a smash Hit. Bill Hurd had earlier been in Gass Company and later did session work and was in The Rubettes. 

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The Cure - Three Imaginary Boys 1979

Maybe it was youthful exuberance or perhaps it was the fact that the band itself was not pulling all the strings, Three Imaginary Boys is not only a very strong debut, but a near oddity (it's an admittedly "catchy" record) in the Cure catalog. More poppy and representative of the times than any other album during their long career, Three Imaginary Boys is a semi-detached bit of late-'70s English pop-punk. Angular and lyrically abstract, it's strong points are in its utter simplicity. There are no dirges here, no long suites, just short bursts of energy and a rather strange cover of Hendrix's "Foxy Lady." For some, this is the last good Cure record, many fans of this album being in no way prepared for the sparse emptiness and gloom that would be the cornerstone of future releases. For the most die-hard Cure-head, however, it's an interesting sidenote, hard to place in the general flow of the band's discography. Cure leader Robert Smith has voiced many times over his mixed feelings about the record, most notably the cover art (the three "representative" appliances on the cover, the lack of a real track listing -- all the songs are represented with arty type pictures -- and in no real order) and the production, which at times is admittedly a little muddy, but even that lends it a certain youthful charm. What the Cure would do next wasn't entirely obvious to the listener of this album, but there are some definite hints. AMG.

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American Flyer - American Flyer 1976

American Flyer deserved better. Eric Kaz had written great love songs for Linda Ronstadt and Bonnie Raitt, and Craig Fuller was coming off his Top 40 hit "Amie" with Pure Prairie League. As it happened, Steve Katz's "Back In '57" turned out to be one of the album's highlights, but "Let Me Down Easy," by Kaz And Fuller, was a minor hit, and there was also Kaz's classic co-composition, "Love Has No Pride." But those were just the cream of an excellent set produced by George Martin. Add it all up, and it should have meant more than a chart peak in the lower reaches of the Top 100, an early indication that, for whatever reasons, American Flyer was not destined to become the next Crosby, Stills, Nash & Young. AMG.

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Lynyrd Skynyrd - Street Survivors 1977

Street Survivors appeared in stores just days before Lynyrd Skynyrd's touring plane crashed, tragically killing many members of the band, including lead singer and songwriter Ronnie Van Zant. Consequently, it's hard to see Street Survivors outside of the tragedy, especially since the best-known song here, "That Smell," reeks of death and foreboding. If the band had lived, however, Street Survivors would have been seen as an unqualified triumph, a record that firmly re-established Skynyrd's status as the great Southern rock band. As it stands, it's a triumph tinged with a hint of sadness, sadness that's projected onto it from listeners aware of what happened to the band after recording. Viewed as merely a record, it's a hell of an album. The band springs back to life with the addition of guitarist Steve Gaines, and Van Zant used the time off the road to write a strong set of songs, highlighted by "That Smell," "You Got That Right," and the relentless boogie "I Know a Little." It's tighter than any record since Second Helping and as raw as Nuthin' Fancy. If the original band was fated to leave after this record, at least they left with a record that serves as a testament to Skynyrd's unique greatness. AMG.

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Johnny Winter - Second Winter 1969

Johnny's second Columbia album shows an artist in transition. He's still obviously a Texas bluesman, recording in the same trio format that he left Dallas with. But his music is moving toward the more rock & roll sounds he would go on to create. The opener, "Memory Pain," moves him into psychedelic blues-rock territory, while old-time rockers like "Johnny B. Goode," "Miss Ann," and "Slippin' and Slidin'" provide him with familiar landscapes on which to spray his patented licks. His reworking of Dylan's "Highway 61 Revisited" is the high spot of the record, a career-defining track that would remain a major component in his set list to the end of his life. AMG.

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Edgar Broughton Band - Bandages 1975

After five years, five albums, and a pair of Top 40 singles, the Edgar Broughton Band left the Harvest label. Three years would pass between 1973's Oora, their last album for Harvest, and Bandages, their first and final set for the Nems label. It was to be the band's swan song, as the Edgar Broughton Band broke up six months after the its release. (A live set, recorded during their farewell tour, would appear in 1979, just in time for the core of the band to reappear as the Broughtons). Obviously, this was an exceptionally unsettled period, but you'd never know it from listening to this extraordinary set. Comprising 11 tracks, Bandages explores an eclectic variety of musical styles, although the careful sequencing creates such a masterful flow, it's only when you reach the end that the wide sweep of music becomes clear. AMG.

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Blodwyn Pig - Getting To This 1970

A quirky detour of late-'60s British progressive/blues rock, Blodwyn Pig was founded by former Jethro Tull guitarist Mick Abrahams, who left Tull after the This Was album. Abrahams was joined by bassist Andy Pyle, drummer Ron Berg, and Jack Lancaster, who gave the outfit their most distinctive colorings via his saxophone and flute. On their two albums, they explored a jazz/blues/progressive style somewhat in the mold of (unsurprisingly) Jethro Tull, but with a lighter feel. They also bore some similarities to John Mayall's jazzy late-'60s versions of the Bluesbreakers, or perhaps Colosseum, but with more eclectic material. Both of their LPs made the British Top Ten, though the players' instrumental skills were handicapped by thin vocals and erratic (though oft-imaginative) material. The group was effectively finished by Abrahams' departure after 1970's Getting to This. They briefly reunited in the mid-'70s, and Abrahams was part of a different lineup that reformed in the late '80s; they have since issued a couple of albums in the 1990s. AMG.

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Dah - Veliki Cirkus 1974

Serbian heavy rock band with folk influences active in period 1972-1977 in former Yugoslavia.
The group enjoyed brief but prominent international success when they recorded the hit single "Shoshana" during their sojourn in Belgium. Under the new name "Land", "Shoshana" single was issued by Polydor across Europe and it even raised to No. 1 on the top list of Radio Morocco. Upon return to Yugoslavia in 1976 they released the third album "Povratak" and soon disbanded. Goran Manojlović then continued with a new line-up and it lasted until 1979.  

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Elis Regina & Antônio Carlos Jobim - Elis & Tom 1974

This beautiful -- and now legendary -- recording date between iconic Brazilian vocalist Elis Regina and composer, conductor, and arranger Tom Jobim is widely regarded as one of the greatest Brazilian pop recordings. It is nearly ubiquitous among Brazilians as a household item. Regina's voice is among the most loved in the history of Brazilian music. Her range and acuity, her unique phrasing, and her rainbow of emotional colors are literally unmatched, and no matter the tune or arrangement, she employs most of them on these 14 cuts. Another compelling aspect of this recording is the young band Jobim employs here and allows pretty free rein throughout. He plays piano on eight of these tracks, and guitar on two others, but the fluid, heightened instincts of these players -- guitarist Oscar Castro-Neves, Luizão Maia on bass, drummer Paulinho Braga, and pianist César Mariano -- reveal them to be at the top of their game for this rather informal date that does include a few numbers with a full orchestra. That said, most of these songs were completed as first takes with very little overdubbing. The ballads are stunning -- check"Modinha," written and arranged by Jobim. The chart, even with an orchestral backing, is amazingly terse because the composer knew Regina worked best within minimal settings. Only two minutes and 16 seconds in length, it nonetheless captures the Portuguese notion of "saudade" perfectly. Of course, most of these tunes are bossa novas. The opening "Águas de Março" features a deceptively simple cat-and-mouse vocal call and response, kicking the disc off on a light, cheerful note; it's a delightful and very sophisticated number, but it feels effortless. "Triste" is one of Jobim's finest tunes, and there is scarcely a better version of it than this one. Even with electric guitars (complete with a semi-funky solo in the middle eight) on top of the nylon strings, the gauzy yet pronounced rhythms and the languid melody delivered by Regina are gorgeous. "Corcovado" is done with an orchestra, full of lilting flutes and a deep string backdrop. It is mournful and sensual. Jobim plays guitar and piano here, and adds a hushed backing vocal to Regina's refrains. It's an unusual reading, but a stellar one. "Brigas, Nuncas Mais" is a wonderfully accented -- if brief -- bossa nova with all the percussion just above the threshold of hearing. It's all guitars, bass, and Regina in the first verse before the Rhodes piano and counterpoint enter near the end. She does more to express the true elegant sensuality of the bossa nova in a minute and 13 seconds than some singers have in a lifetime. Jobim's classic jazz ballad "Inútil Paisagem" is very difficult to deliver well, because it requires incredible restraint and emotion. Accompanied only by Jobim's piano -- and his all-but-whispered backing vocal -- this is truly one of Regina's greatest performances of the 1970s. It closes the album on a stunning high note, leaving nothing to be desired by the listener. AMG.

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Brainstorm - Smile A While 1972

Brainstorm originated from Baden-Baden (in South West Germany), as the eccentric Mothers Of Invention inspired combo with the unlikely name Fashion Prick (earlier Fashion Pink). Later, wisely changing their name and becoming Brainstorm, they still attempted to shock with their debut album Smile A While, which caused a scandal due to its outrageous cover. The music on both Brainstorm albums was a highly inventive blend of songs and instrumentals, with a touch of Zappa, and Canterbury-inspired certainly, akin to Caravan, Hatfield & The North, Soft Machine, etc., but also with a style all of their own. Highlighted by quality musicianship, notably a dizzying array of winds and keyboards, with complexly arranged instrumentals and, like the Dutch band Supersister, a penchant for eccentric tongue-in-cheek humor. Brainstorm lived up to its name, and both albums are classics of the genre. Roland Schaeffer later became a bastion of Guru Guru and Jo Koinzer has fronted numerous fusion bands since.

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Alan Price - Between Today and Yesterday 1974

Between Yesterday & Today was released during one of rock's more self-indulgent periods. It's therefore to Alan Price's credit that, although he chose to make a "concept" record about his maturation in working-class Newcastle, he eschewed the usual trappings of conceptual rock artists. There is no fluid storyline, no bombastic theme about the search for self, the songs are short and able to stand alone, and there are definitely no mellotrons or five-minute guitar solos. Price's voice also shows restraint, sounding more like a wise old uncle than a rock poster boy. But it's this complete lack of indulgence and musical embroidery that makes Between Yesterday & Today such a unique "concept" album. Price draws greatly upon the English music hall tradition (and a dollop of Randy Newman) to weave his simple, nostalgic miniatures. Each of the songs has its own personality, from the theatrical "Leftover People" to the reflective title track to the slow blues of "You're Telling Me." This album's not exactly rock, and like good literature, it requires some investment on the part of the listener. But for those who prefer humility to the hype and want something different, it's worth checking out. AMG.
 

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Acrobat - Acrobat 1972

Interesting unknown US soft rock band. Not much info about this one, so give it a listen.

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Juicy Lucy - Juicy Lucy 1969

If only one song can be said to encapsulate all that Juicy Lucy portended as their career got underway in the new decade of the '70s, it was "Who Do You Love?" The band's first single, spinning off their debut album, was as fast, mean, and dirty as any record could have been, a breakneck tour through the Bayou swamps and dirt-track roads of the American South powered by a razor-sharp guitar that would make your fingers bleed. And it gave the band a U.K. hit that still sounds fresh today. But Juicy Lucy were no one-trick pony. True, their debut album is remembered as much for its artwork (a mostly naked, fruit-draped lady) as for its content, but step inside and the group were locked firmly, and gleefully, into the free-freak movement of the age -- while Chuck Berry's "Nadine" was fed through a Hell's Angels nightclub jukebox, "Are You Satisfied" emerged as a festival chant spread out over six-and-a-half minutes, as mantra-like as (almost) anything the Edgar Broughton Band was doing at the time. The band's American roots are seldom far from the surface, of course: "Mississippi Woman" dripped oozing, cracked, croaky blues, and "Chicago North-Western" essentially offers up a history of the Midwestern railroads, while Glen Ross Campbell's steel guitar breathed Americana over everything it touched. But no matter how powerful Juicy Lucy may have been, it could not paper over the cracks that were already forming in the band themselves, and by the time they recorded their next album, the group that cut this one was already long gone. One can only dream of what they might have achieved had they stuck together. AMG.

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Marlena Shaw - Out of Different Bags 1967

Marlena Shaw's first-ever album – and while not as all-out righteous as some of her later work, still a really unique record that quickly put Marlena head and shoulders above the rest of the pack! The record's a mix of jazzy vocal numbers and heavier soul tunes – arranged by Richard Evans with a hiply swinging sound that bridges modes nicely – and which offers a deeper, more sophisticated take on the kind of territory explored by Nancy Wilson on Capitol during the 60s. Tunes are a real mix of material, but all transformed nicely in this setting – so that standout session tunes like "Ahmad's Blues", "I've Gotten Over You", and "Nothing But Tears" sit very nicely next to more familiar numbers like "Matchmaker Matchmaker", "Alone Together", and "The Eyes Of Love". Also includes a great reading of "Somewhere In The Night"! Review from Dusty Groove's website. AMG.

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Sea Level - Sea Level 1977

Keyboardist Chuck Leavell formed the Sea Level quartet in 1976 in the aftermath of the Allman Brothers' first breakup of their post-Duane Allman years, and since two other Sea Level members had also been in the Allmans -- bassist Lamar Williams and original Allmans drummer Jaimoe -- it was tempting to regard the band as an Allman Brothers spinoff, but that wasn't exactly the full story. Jaimoe and Williams had played together before the Allmans formed, and Sea Level guitarist Jimmy Nalls had been part of Alex Taylor's band -- which also included Leavell -- before both Leavell and Williams had joined the Allmans in the wake of the deaths of Duane and original Allmans bassist Berry Oakley, so the four musicians of Sea Level might be seen as simpatico even outside the Allman Brothers narrative. Of course, the Allmans sound was a major touchstone for Sea Level; certainly, Leavell's pianism had reached its largest audience ever with his solo break on "Jessica," and he would bring similar stylings to his quartet's 1977 eponymous debut album. But Sea Level didn't need to stand in the shadow of any other group, as the debut made clear. The opening track, the Leavell-penned "Rain in Spain," is as driving and melodic as any Allman Brothers instrumental but also possesses a jazzy harmonic sophistication beyond what the Allmans might have attempted in the lead-in to their first breakup, and the same goes for other instrumental tracks like Leavell's "Tidal Wave," the Neil Larsen composition "Grand Larceny," and certainly the moody, sensitive read of Simon & Garfunkel's "Scarborough Fair." Leavell also wrote the swampy, funky "Nothing Matters But the Fever," with wah-wah slide guitar from Nalls, woozy, disorienting effects on the piano, and a fine vocal turn from Leavell as well, a bluesy cry from the soul that never crosses the line into histrionics. Another pleasure of this album derives from Jaimoe's role as sole drummer/percussionist; for those who had only heard him as half of the Allman Brothers' powerful drum tandem with Butch Trucks, his inventiveness, drawing from jazz, blues, rock, soul, and funk idioms, stood out on Sea Level in a way that was revelatory for many listeners. Sea Level was a fine debut from a killer quartet, and with the addition of singer/songwriter and saxophonist Randall Bramblett, guitarist Davis Causey, and drummer George Weaver to the lineup for the recording of the sophomore album Cats on the Coast, it did not seem unreasonable to surmise that this band's future possibilities were near without limits. AMG.

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