Dire Straits - Communique 1979

Rushed out less than nine months after the surprise success of Dire Straits' self-titled debut album, the group's sophomore effort, Communiqué, seemed little more than a carbon copy of its predecessor with less compelling material. Mark Knopfler and co. had established a sound (derived largely from J.J. Cale) of laid-back shuffles and intricate, bluesy guitar playing, and Communiqué provided more examples of it. But there was no track as focused as "Sultans of Swing," even if "Lady Writer" (a lesser singles chart entry on both sides of the Atlantic) nearly duplicated its sound. As a result, Communiqué sold immediately to Dire Straits' established audience, but no more, and it did not fare as well critically as its predecessor or its follow-up. AMG.

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Syd Barrett - Barrett 1970

On his second solo album, Barrett was joined by Humble Pie drummer Jerry Shirley and Pink Floyd members Rick Wright (organ) and Dave Gilmour (guitar). Gilmour and Wright acted as producers as well. Instrumentally, the result is a bit fuller and smoother than the first album, although it's since been revealed that Gilmour and Wright embellished these songs as best they could without much involvement from Barrett, who was often unable or unwilling to perfect his performance. The songs, however, are just as fractured as on his debut, if not more so. "Baby Lemonade," "Gigolo Aunt," and the nursery rhyming "Effervescing Elephant" rank among his peppiest and best-loved tunes. Elsewhere, the tone is darker and more meandering. It was regarded as something of a charming but unfocused throwaway at the time of its release, but Barrett's singularly whimsical and unsettling vision holds up well. AMG.

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Eric Mercury - Electric Black Man 1969

Singer Eric Mercury began performing when he was hardly old enough to attend public school. His family worked together as a musical group, appearing at local functions at churches, schools, and such. After he got older, Mercury moved on from his family band to a few rock and R&B groups that let him try some new styles, and come into his own rhythm. In the late '60s, he began performing solo, recording a debut album in 1969. A few more full-length offerings followed during the '70s, before he moved on to work as a producer, songwriter, and to appear in at least one musical.

Eric Mercury was born and raised in Toronto, Canada. He entered this world as a member of a skilled musical family. That gave him the chance to polish his natural talents of singing and performing at an age when most children are happy simply mastering the alphabet and double-digit numbers. Just before the '60s rolled in, Mercury went out on his own, joining groups like the Pharaohs before moving up from member to frontman with Eric Mercury and the Soul Searchers. In 1968, Mercury made two substantial changes in his life. First, he left Toronto behind for Chicago in the United States. Second, he left the safety of a group and went solo. A short year later, he was working under the Avco Embassy label, which released his solo debut album, Electric Black Man. During the next decade, he recorded three more albums, Funky Sound Nurtured in the Fertile Soil of Memphis, Love Is Taking Over, and a self-titled offering. Eric Mercury was released in 1975 and was the last solo recording he made.

In the '80s, Mercury began working more behind the scenes in the music world, both in Canada and the United States. Besides serving as a producer, he also wrote both songs and jingles. "It's Time for Me to Love," "Listen with Your Eyes," "You Bring Me to My Knees," "Long Way Down," and "Everybody's Got the Right to Love" were among his best and best-known tunes. He also was the voice behind Nike's successful "Be Like Mike" television advertising campaign. Eric Mercury died in Toronto on March 14, 2022, from pancreatic cancer; he was 77 years old. AMG.

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Peter Gabriel - Peter Gabriel II 1978

The pairing sounds ideal -- the former front man of Genesis, as produced by the leading light of King Crimson. Unfortunately, Peter Gabriel's second album (like his first, eponymous) fails to meet those grandiose expectations, even though it seems to at first. "On the Air" and "D.I.Y." are stunning slices of modern rock circa 1978, bubbling with synths, insistent rhythms, and polished processed guitars, all enclosed in a streamlined production that nevertheless sounds as large as a stadium. Then, things begin to drift, at first in a pleasant way ("A Wonderful Day in a One-Way World" is surprisingly nimble), but by the end, it all seems a little formless. It's not that the music is overly challenging -- it's that the record is unfocused. There are great moments scattered throughout the record, yet it never captivates, either through intoxicating, messy creativity (as he did on his debut) or through cohesion (the way the third Peter Gabriel album, two years later, would). Certain songs work well on their own -- not just the opening numbers, but the mini-epic "White Shadow," the tight "Animal Magic," the tense yet catchy "Perspective," the reflective closer "Home Sweet Home" -- yet for all the tracks that work, they never work well together. Ironically, it holds together a bit better than its predecessor, yet it never reaches the brilliant heights of that record. In short, it's a transitional effort that's well worth the time of serious listeners, even it's still somewhat unsatisfying. AMG.

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Barrington Levy - Englishman 1979

Whether due to his warm-hearted, almost androgynous vocals or to the simple fact that cynics resent any musician that records anything past 1979, perennial reggae icon Barrington Levy has never reached the sort of crossover Marley-dom that some of his peers enjoy. However, with such a striking piece of stress-free ability so early in his career, historical concerns like these should probably be abolished. Most of Englishman finds Levy in a supernaturally relaxed state of mind, vocalizing an alluring range of sentiment, intelligence, and ghetto patois that more than keep up with the eclectic production hands of Henry "Junjo" Lawes. "Bend Your Back" is pure dancehall geniality (with an affecting rhythm perhaps closer to American blues than anything else), "Look Girl" is disco-reggae merriment, and better still, "Sister Carol" is the kind of song that will quite possibly continue to break hearts forever. Some occasional lapses into failed modernization do put a crimp on things, but this is the sort of album that instantly befriends and immediately signals an important talent. In Levy's own words, this is nothing less than "sweet reggae music." AMG.

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Nelson Sargento - Sonho de um Sambista 1979

As the composer of over 400 songs, including the classics "Samba, Agoniza Mas Não Morre" (recorded by Beth Carvalho in 1978) and "Cântico à Natureza/Quatro Estações do Ano" ("Primavera"), Nelson Sargento is associated with the history of samba beginning in 1934 when he was parading at the Azul e Branco samba school at the age of ten. He was a member of A Voz do Morro, recording albums with Paulinho da Viola, Zé Kéti, Elton Medeiros, Jair da Costa, Anescarzinho, and José da Cruz. He also wrote anthological sambas with Cartola, Carlos Cachaça, Daniel Gonzaga, and Darcy da Mangueira, having had success with "Nas Asas da Canção" (with Ivone Lara), "Falso Amor Sincero," "Vai Dizer a Ela" (with Carlos Marreta), and "Idioma Esquisito." His first samba-enredo was "Rio São Francisco" (with Alfredo Português in 1948) for Mangueira. His "Cântico à Natureza" (samba-enredo considered one of the ten best-ever presented by Mangueira; it was co-written with his stepfather Alfredo Português and Jamelão) was presented by Mangueira at the Carnival of 1955 and received second place in the competition; the song was recorded by Jamelão and earned success. Sargento participated in historic shows with Rosa de Ouro (1965) and was also a part of the Os Cinco Crioulos, recording albums with both groups. The international career of this wallpainter began in 1990 when he went to Japan for the first time, having also recorded and released albums in that country. Sargento, a primitivist painter who has realized several individual exhibitions, also wrote books (Prisioneiro do Mundo and Um certo Geraldo Pereira) and acted in movies (O Primeiro Dia, by Walter Salles/Daniela Thomas; the awarded documentary Nelson Sargento da Mangueira, by Estevão Pantoja; and Orfeu do Carnaval, by Cacá Diegues, among others). AMG.

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Jimi Hendrix - Rainbow Bridge 1971

Back when Rainbow Bridge was originally released, it was actually among the best of the posthumous Hendrix releases. Billed as "the original motion picture soundtrack" (it wasn't, really), it was a mix of excellent, finished studio tracks and a couple of live tracks. Despite this, it's understandable why it didn't appear in the digital realm until 2014 (officially, at least). Once the estate went back to the Hendrix family in the '90s, three of the tracks from Rainbow Bridge were used on the album First Rays of the New Rising Sun, which had previously only existed as Jimi's hand-written track listing. The remaining tracks were orphaned out on various box sets and compilations. So while all the tracks on Rainbow Bridge have been made available elsewhere, it's nice to finally have it assembled the way the original LP was, with excellent remastered sound (not just for the old-timers who had the LP the first time around, but for others who don't necessarily want to shell out for the box set needed to gather these tracks). Highlights include overlooked gems like "Pali Gap" and Jimi's rarely heard studio version of "The Star Spangled Banner," which is made of multi-tracked guitars and basses. AMG.

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Dire Straits - Dire Straits 1978

Dire Straits' minimalist interpretation of pub rock had already crystallized by the time they released their eponymous debut. Driven by Mark Knopfler's spare, tasteful guitar lines and his husky warbling, the album is a set of bluesy rockers. And while the bar band mentality of pub-rock is at the core of Dire Straits -- even the group's breakthrough single, "Sultans of Swing," offered a lament for a neglected pub rock band -- their music is already beyond the simple boogies and shuffles of their forefathers, occasionally dipping into jazz and country. Knopfler also shows an inclination toward Dylanesque imagery, which enhances the smoky, low-key atmosphere of the album. While a few of the songs fall flat, the album is remarkably accomplished for a debut, and Dire Straits had difficulty surpassing it throughout their career. AMG.

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Charge - Charge 1973

The Kissing Spell label is a boutique imprint specializing in unearthing obscurities and often candid recordings of incredibly obscure U.K. psychedelic groups of the late '60s and early '70s. While they have uncovered some gems, often the recordings falter for the quality or recording conditions on some of their artifacts. Charge is yet another heavy and explosive guitar-led group with aspirations towards Jimmy Hendrix guitar absolution and blues-based workouts. The gloomy garage ambience of the recording makes for a great listen throughout, and the overworked wah-wah pedal adds to the vibes. Without a doubt, it's authentic, and the jamming gets pretty hot. The dissonant down beat gloom can be hard to handle, but in the right moment this nullifying music can be a thrilling indulgence. Think of a less coherent Black Sabbath in the basement playing folk-inflected mantras and you are getting close to the desolation of Charge. Those who ever wondered who slipped under the carpet in the Led Zeppelin era should look no further than Kissing Spell, and Charged is a fitting addition to their catalog. AMG.

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David Lewis - The Songs Of David Lewis 1970

David Lewis is more known to collectors of late-'60s and early-'70s rock as the leader of the Northern Irish band Andwella's Dream (later shortened to Andwella) than as a solo artist. However, while that group was still going- some sources give the year 1969, others 1970 - solo Lewis performances came out on a publisher's demo, issued more than 30 years later on a Japanese release. It's a mixed lot that gives the impression the tracks might have been recorded at separate times and/or separate sessions spaced at least a few months apart. Many of the cuts are solo piano performances that show some similarities to the work of early singer/songwriters like Carole King, Randy Newman, Elton John, and perhaps even a bit of David Gates. (Some of the melody of "You Don't Know" certainly recalls Bread's "Make It with You.") "On a Day Like Today," on the other hand, might bring to mind Jesse Colin Young's mellower compositions for the Youngbloods. There's a soul-gospel flavor to some of these that makes him sound a little like a singer/songwriter Ray Charles, though you shouldn't get too excited by that comparison; the songs and vocals aren't on the level of Charles or the other aforementioned artists. Yet there are also a couple tracks with full-band arrangements and orchestration that sound like they could have been placed on official late-'60s pop/rock releases. Whatever the case, they're only passable songs, though Lewis is a decently soulful vocalist. AMG.

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Taste of Blues - Schizofrenia 1969

Swedish psychedelic rock band formed in 1967 in Malmö. Formed around Claes Ericsson, who would later perform in the 70s band Lotus, Taste of Blues challenges their listeners with a saucy concoction of the late 60s psych sound as well as something entirely original and free. It might just be a stretch to call this one Krautrock, but when one jumps in at the deep end here, the overt improvisations beyond the relative blues banner up front is downright uncanny. Loads of Can reminding moments, and this is before they even developed their legendary monotonous rhythm-based structure. Schizophrenia opens with the title track, which is a feast of krautocking hypnotising rhythms and then flips over to a more bluesy style on the 2nd side whilst still retaining a sonic playfulness.

Maybe this band is obscure beyond recognition, but it later evolved into the hard and heavy-hitting Asoka that sounded like a psychedelic take on Atomic Rooster. American Don Washington provided the vocals that are eerily similar in style and delivery to Malcolm Mooney, and even the repetitiveness and fiery motorik stuttering drumming recalls a certain Jaki Liebezeit.

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Bob Smith - The Visit 1970

Double LPs never were the best commercial options for debut albums, but it can't be said that Bob Smith didn't have a lot to say on The Visit, filling up four sides with various shades of psychedelic rock. That doesn't mean that what he had to say was that compelling. He sings in a serious, portentous voice, as is suitable for songs that are psychedelic sermons of sorts, offering abstract and somewhat stern philosophical advice. While eclectic and accomplished (with Don Preston of the Mothers of Invention and a young Daryl Dragon among the backup musicians), the music is fairly standard late-'60s/early-'70s heavy psychedelic rock, sometimes seeming as if it's trying to bisect the Doors with the eeriest moods of early Tim Buckley. There are plenty of tempo changes, and the grinding (sometimes wah-wahing) hard rock guitar and organ are embellished by flutes, Mellotron, vibes, and spooky sound effects. Occasionally, the tracks lean harder in a certain direction; "Source You Blues" merges ponderous late-'60s British blues-rock with Jim Morrison/Tim Buckley vocalizing, while "India Slumber" riffs off tuneless psychedelic improvisation à la Pink Floyd's "Interstellar Overdrive," but to the point of annoying gimmickry. It all sounds sort of like a guy determined to land a contract with Elektra Records in the late 1960s, though one granted far more studio time to demo his songs than most such aspirants. The record does have a good reputation among some collectors of obscure psychedelia, and a couple of the better tracks, like "The Wishing Song" (which with its prominent Mellotron is like Tim Buckley being backed by the Moody Blues), wouldn't be bad choices for compilations. It's ironic, though, that for all of Smith's tendencies to sing like a psychedelic preacher, he was very much a follower of musical trends rather than a leader. AMG.

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Julius Victor - From The Nest 1969

This is the sole album by this US hard-rock/psychedelic band, recorded at the famous Record Plant Studios in New York and produced by jazz musician Ahmad Jamal. The LP contains organ-dominated, hard progressive sounds with powerful, soulful vocals, hot lead guitars, and atmospheric swirling Hammond parts, for fans of Child, Atomic Rooster, Vanilla Fudge, Iron Butterfly, H.P. Lovecraft, Day Blindness, Arthur Brown, etc. Don't miss it.

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Roy Ayers - Virgo Vibes 1967

Long before he switched to playing disco and pop music, Roy Ayers was considered a promising young jazz vibraphonist. This LP, his second as a leader, was one of his finest. On four of the five selections (obscurities and pieces by group members), Ayers teams up with trumpeter Charles Tolliver, tenor saxophonist Joe Henderson, bassist Reggie Workman, drummer Bruno Carr, and the mysterious pianist Ronnie Clark (Herbie Hancock under a disguised name). On "Glow Flower," Ayers and Tolliver are joined by Harold Land on tenor, pianist Jack Wilson, bassist Buster Williams, and drummer Donald Bailey. The music is primarily advanced hard bop with some freer moments on Tolliver's "The Ringer." This underrated music is long overdue to be reissued on CD and displays Roy Ayers' long before he was known as an R&B artist. AMG.

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It's A Beautiful Day - Choice Quality Stuff - Anytime 1971

Choice Quality Stuff/Anytime is not only the third long-player from It's a Beautiful Day, it also includes a personnel unique from either of its predecessors. This revolving-door musical cast ultimately resulted in decades of litigation. Perhaps most importantly, it also accounts for the disparate musical styles accompanying all three of the band's albums. Further, it was during the creation of this disc that lineup number two was replaced by lineup number three -- netting a separate band for the "Choice Quality Stuff" side and the "Anytime" side. It's a Beautiful Day, in essence, was becoming somewhat of a loose aggregate of Bay Area "all stars" by 1972. When the dust eventually settled, listeners were treated to notable contributions from Santana members Jose Chepitó Areas (percussion), Coke Escovedo (percussion), and Gregg Rolie (keyboards), as well as Bill Atwood (trumpet) -- who had already begun making a name for himself with contributions to Malo -- Cold Blood, and the Grateful Dead. The album also includes licks from Bruce Steinberg (mouth harp), who was better known for his LP cover artwork than musical abilities. A pleasant surprise is that this incarnation is as interesting in the grooves -- on tracks such as "Words" or "Bitter Wine" -- as they might seem on paper. However, any enthusiasts of the progressive rock leanings on their first release or even the decidedly pastoral work of Marrying Maiden would have been, quite frankly, at a loss for a majority of Choice Quality Stuff/Anytime. There is a distinct blues-based rock & roll attitude on "Creed of Love" and "Bye Bye Baby," which are more similar to Brit bluesmen John Mayall and Jeff Beck than any previous It's a Beautiful Day outing. This album is far from a washout. It is likewise remote in its musical representation of the band's previous sound. AMG.

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