Opening slowly with the dark, swampy "Born on the Bayou," Bayou Country reveals an assured Creedence Clearwater Revival, a band that has found its voice between their first and second album. It's not just that "Born on the Bayou" announces that CCR has discovered its sound -- it reveals the extent of John Fogerty's myth-making. With this song, he sketches out his persona; it makes him sound as if he crawled out of the backwoods of Louisiana instead of being a native San Franciscan. He carries this illusion throughout the record, through the ominous meanderings of "Graveyard Train" through the stoked cover of "Good Golly Miss Molly" to "Keep on Chooglin'," which rides out a southern-fried groove for nearly eight minutes. At the heart of Bayou Country, as well as Fogerty's myth andCreedence's entire career, is "Proud Mary." A riverboat tale where the narrator leaves a good job in the city for a life rolling down the river, the song is filled with details that ring so true that it feels autobiographical. The lyric is married to music that is utterly unique yet curiously timeless, blending rockabilly, country, and Stax R&B into something utterly distinctive and addictive. "Proud Mary" is the emotional fulcrum at the center of Fogerty's seductive imaginary Americana, and while it's the best song here, his other songs are no slouch, either. "Born on the Bayou" is a magnificent piece of swamp-rock, "Penthouse Pauper" is a first-rate rocker with the angry undertow apparent on "Porterville" and "Bootleg" is a minor masterpiece, thanks to its tough acoustic foundation, sterling guitar work, and clever story. All the songs add up to a superb statement of purpose, a record that captures Creedence Clearwater Revival's muscular, spare, deceptively simple sound as an evocative portrait of America. AMG.listen hereBuy @ Amazon:
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As an album, the Arrows' Cycle Delic Sounds Of.. is a standalone among instrumental rock & roll records. Recorded in late 1967, it fully exploits the recording studio to full-on psychedelic effect, while its tracks are burning rock & roll guitar workouts that merge hard and heavy hot rod, surf, and biker music. This is the next step -- the unholy sonic marriage of Dick Dale and the Ventures with Link Wray and the young Jimi Hendrix. The title cut leads it off with squalling wah-wah raunch & roll, drenched in fuzz and studio effects, it's wild, raw, and unfettered. It is singular here, but it is far from the only great offering. The reworked "Blue's Theme," called "Blue's Trip" here, is an awesome sequel from the band's previous album. The growling Harley at the beginning of "Another Cycle in Detroit" is a teaser for the orgy of multi-tracked six-strings that are distorted almost beyond recognition. The other two killers here are the themes from biker movies: "Devil's Angels Theme" and "The Born Loser's Theme." They are majestically demented and knotty. The album's closer, "Mind Transferral," is a bizarre exercise in acid freakout that seemingly doesn't get it until the wah-wah kicks in over the nonsensical moaned and babbled vocals. AMG.listen hereBuy @ Amazon:
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By the time of 1971's Tightly Knit, the group had settled into a very comfortable groove and suddenly didn't seem to be trying so hard, instead letting the music speak for itself. This newfound confidence was also mirrored in the fact that eight of the ten tunes aboard were group-penned originals. While they showed some versatility on tunes like "Little Link" and "Shoot Her If She Runs" (both exhibiting a strong country rock flavor), they still managed to sound like no one else but the Climax Blues Band on such familiar warhorses as "Spoonful" and Robert Johnson's "Come on in My Kitchen." Peter Haycock's lead guitar reached scorching levels on the almost-ten-minute-long "St. Michael's Blues"; "Who Killed McSwiggin" explored the Bo Diddley beat for all its worth, and the closing "That's All" took the pan-flute New Orleans groove into folk-singalong territory, making a top-notch finish for the group's most varied outing. AMG.listen hereBuy @ Amazon:
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The internal dissension that was already eating away at Buffalo Springfield's dynamic on their second album came home to roost on their third and final effort, Last Time Around. This was in some sense a Buffalo Springfield album in name but not in spirit, as the songwriters sometimes did not even play on cuts written by other members of the band.Neil Young's relatively slight contribution was a particularly tough blow. He wrote only two of the songs (though he did help Richie Furay write "It's So Hard to Wait"), both of which were outstanding: the plaintive "I Am a Child" and the bittersweet "On the Way Home" (sung by Furay, not Young, on the record). The rest of the ride was bumpier: Stephen Stills' material in particular was not as strong as it had been on the first two LPs, though the lovely Latin-flavored "Pretty Girl Why," with its gorgeous guitar work, is one of the group's best songs. Furay was developing into a quality songwriter with the orchestrated "The Hour of Not Quite Rain" and his best Springfield contribution, the beautiful ballad "Kind Woman," which became one of the first country-rock standards. But it was a case of not enough, too late, not only for Furay, but for the group as a whole. AMG.listen hereBuy @ Amazon:
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One of the first acts signed to the fledgling Harvest label in 1969, Bakerloo were very much a product of their time, a hard-hitting progressive blues band whose predilections ranged from a straightforward assimilation of Willie Dixon to some positively dazzling flashes of instrumental prowess. Guitarist Dave Clempson's "Big Bear Folly," the opening cut on the band's first and only album, is a dazzling Ten Years After-style showcase, while a jazzy variation on a theme ofBach, the aptly titled "Driving Bachwards," proves that the band wasn't averse to messing with the classics, either. The quartet's virtuosity occasionally overwhelms the songs themselves, although there is no shortage of gripping atmosphere. Bassist Terry Poole unleashes an almost sepulchral vocal across the stygian "Last Blues," a seven-minute marathon that swiftly develops into a full-fledged heavy rocker, punctuated by mood shifts that amount to separate movements -- it's a magnificent piece, rendered with both musical precision and some of producer Gus Dudgeon's most inspired washes and effects. Impressive, too, is "Son of Moonshine," a distorted metal effort that clocks in at double that length and combines Clempson's intensive guitar soloing with a desperately driving blues rhythm. Period comparisons with Cream and early Led Zeppelin really weren't that far off the mark. Bakerloo were not long for this earth -- Clempson quit to join Colosseum shortly after the album's release; Poole reappeared alongsideGraham Bond; drummer Keith Baker departed for Uriah Heep; and Bakerloo itself disappeared off the shelves fairly quickly. AMG. Buy @ Amazon:
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Although a fourth Aynsley Dunbar Retaliation album (Remains to Be Heard) would be cobbled together from outtakes and recordings done without Dunbar, their third LP, To Mum, From Aynsley and the Boys, was truly the final proper full-length release by the original group. Dunbar had expressed some interest in moving further afield from the blues-rock format around the time the record was done, and the addition of keyboardist Tommy Eyre (from the Grease Band) to the lineup was one step in that direction. The enlistment of John Mayall as producer was perhaps another step in attempting to refine their sound. Still, much of To Mum, From Aynsley and the Boys is pretty standard late-'60s British blues-rock, in line with the previous two albums by the band. Eyre does inject some of the arrangements with a jazzy, more R&B feel, particularly on "Leaving Right Away" and the instrumental "Unheard," the latter of which sounds like a rock band trying to do modern jazz and finding themselves a bit out of their depth. You also hear the quintet trying to stretch boundaries a little with the eerie, trumpet-overlaid intro to "Don't Take the Power Away," which has the downcast ambience typical of quite a bit of the Victor Brox-sung Aynsley Dunbar Retaliation material. There's also some exceptionally funereal organ in the march-plodding instrumental "Journey's End." Otherwise, though, much of this is rather-run-of-the-mill, if always well played, British blues-rock. AMG.listen hereBuy @ Amazon:
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Jefferson Airplane's first live album demonstrated the group's development as concert performers, taking a number of songs that had been performed in concise, pop-oriented versions on their early albums -- "3/5's of a Mile in 10 Seconds," "Somebody to Love," "It's No Secret," "Plastic Fantastic Lover" -- and rendering them in arrangements that were longer, harder rocking, and more densely textured, especially in terms of the guitar and basslines constructed byJorma Kaukonen and Jack Casady. The group's three-part vocal harmonizing and dueling was on display during such songs as a nearly seven-minute version of Fred Neil's folk-blues standard "The Other Side of This Life," here transformed into a swirling rocker. The album emphasized the talents of Kaukonen and singer Marty Balin over the team of Paul Kantner and Grace Slick, who had tended to dominate recent records: the blues song "Rock Me Baby" was a dry run for Hot Tuna, the band Kaukonen and Casady would form in two years, and Balin turned in powerful vocal performances on several of his own compositions, notably "It's No Secret." Jefferson Airplane was still at its best in concise, driving numbers, rather than in the jams on Donovan's "Fat Angel" (running 7:35) or the group improv "Bear Melt" (11:21); they were just too intense to stretch out comfortably. But Bless Its Pointed Little Head served an important function in the group's discography, demonstrating that their live work had a distinctly different focus and flavor from their studio recordings. AMG.listen hereBuy @ Amazon:
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The Sons of Champlin were written off after the commercial washout of their third album, Follow Your Heart, but they came roaring back two years later with Welcome to the Dance. The crucial difference for a band as committed to funky rhythms as the Sons was an all-new rhythm section: bassist Al Strong and drummer Bill Bowen had been replaced byDavid Schallock and James Preston, respectively, giving the band the sort of soul groove R&B fanatic Bill Champlinhad always sought. Champlin brought in his strongest bunch of material since the Sons' debut, Loosen Up Naturally(1969), once again returning in his lyrics to themes of personal responsibility and encouragement. You've got to wonder how a guy who liked to sing lines like "It's up to us to rearrange" and "We can do it now" ever got tagged as a hippie, especially since his musical inspirations seemed to be James Brown for his vocals and Jimmy Smith for his organ playing. But guitarist Terry Haggerty confirmed the band's psychedelic credentials with his biting, often complex solos, and the songs tended to go off into jams after a couple of choruses. Welcome to the Dance was the Sons' best realized album yet, a good compromise between their need for coherent structure and their desire to play free. Had it not been sabotaged by record company machinations, it might have been the record that finally broke this long star-crossed outfit. [The 2001 CD reissue by the British Acadia label bands both of the medleys on the album, so that what was originally the third track, "Who/Heaven Only Knows," now makes up the third and fourth tracks, and the 12-minute, four-part "Welcome to the Dance" medley that was the seventh track is now tracks eight, nine, ten, and eleven.] AMG.listen hereBuy @ Amazon:
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Kapt. Kopter and the (Fabulous) Twirly Birds was Randy California's debut solo album after leaving Spirit, and thus, expectations were high. California, still only 21, opted to return to the influence of his early mentor, Jimi Hendrix, who had died in 1970. California wailed through a series of tunes in a style more reminiscent of the extended arrangements of Electric Ladyland than the tight psychedelic pop singles on Are You Experienced. Beatles songs like "Day Tripper" and "Rain" became almost unrecognizable frames for California's improvisations. At least the covers were actual songs, which was more than you could say for the originals. Kapt. Kopter ended up proving that Californiawas not ready to be promoted from a group guitarist who sang and wrote occasionally. AMG.listen hereBuy @ Amazon:
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The 1999 Ode/Epic/Legacy CD reissue of this album marks its first appearance in the American catalog since 1969, when a switch of distributors by Ode, from Columbia to A&M, ended up getting it deleted prematurely. The original LP became a collector's item with a triple-digit price and was even bootlegged with a bad black-and-white reproduction of the original jacket. It was briefly in print on CD in Japan during the early 1990s, but this reissue is an improvement --King lacked some confidence, and this remastering captures the subtle, deep, expressive aspect of King's singing, which was easy to lose, especially because King sometimes sounds a little outnumbered, trying to work within a "group" context. The City has more of an integrated ensemble sound, and less prominence to King, than her subsequent records, even though she used bigger backing groups on most of her solo sides. The new CD squeezes the best out of her voice (and piano, which sounds gloriously resonant) as it existed then. The soft but clear, gently tapped percussion in the opening seconds of "Snow Queen," and the close-up twang and crunch of Danny Kortchmar's guitar on "Wasn't Born to Follow," also enhance the listening. King wasn't yet filling her albums wall-to-wall with memorable songs, and there's some material here that might better have been held back at the time, but this release is the best way to hear this record. AMG.listen hereBuy @ Amazon:
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Dudu Pukwana grew up studying piano in his family but in 1956, he switched to alto sax after meeting tenor sax playerNick Moyake. In 1962, he won first prize at the Johannesburg Jazz Festival with Moyake's Jazz Giants (1962 Gallo/Teal). Chris McGregor then invited him to join the Blue Notes; the interracial sextet, increasingly harassed by authorities, went into exile in 1964, playing in France, Zurich, and London. Pukwana's fiery voice was heard not only inthe Blue Notes and in McGregor's Brotherhood of Breath, but in many diverse settings ranging from the Incredible String Band to improvising with Misha Mengelberg and Han Bennink (Yi Yo Le, ICP 1978). As a composer, Pukwanawrote "Mra," one of the best-loved tunes by the Brotherhood. His own groups, Assagai and Spear, which recorded a few albums in the early '70s, blended kwela rhythms, rocking guitars, and jazz solos. With Mongezi Feza, Elton Dean,Keith Tippett, and Louis Moholo, Pukwana recorded two masterful acoustic tracks on the mostly electric albumDiamond Express (Freedom 1977). His presence was also hugely felt in Moholo's Spirits Rejoice!, and in Harry Miller's Isipingo. Several African leaders invited him into their groups, including Hugh Masekela and trombonist Jonas Gwangwa's African Explosion (Who, Ngubani 1969). In 1978, Pukwana founded Jika Records and formed his own band, Zila, featuring South Africans Lucky Ranku on guitar and powerful vocalist Miss Pinise Saul. Zila recorded Zila Sounds (1981), Live in Bracknell and Willisau (1983), and Zila (1986), the last with keyboardist Django Bates andPukwana increasingly using soprano sax. In duo with John Stevens, he recorded the free session They Shoot to Kill(Affinity 1987), dedicated to Johnny Dyani. Dudu Pukwana died of liver failure in June 1990. AMG.listen hereBuy @ Amazon:
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Jade Warrior never scored a hit single and it seems bizarre to think that anyone ever dreamed it could. Buried away on side two of its third album, however, "The Demon Trucker" not only has unexpected smash written all over it, but the words were large enough that the band's U.K. label Vertigo clearly felt the same way. One must sincerely regret there never came a day when a nation's pop kids were ordered to "throw their hands up to the ceiling, get out on the floor and stamp your feet with feeling." Or maybe they were, but only when Slade told them to. Coming from a band better-known for weird flute solos and complicated time signatures, the demand was possibly less compulsive. It's still a great song, though, one of the finest rock & rolling dance numbers of the age and, if the remainder of Last Autumn's Dreamdoesn't quite match those same pounding, resounding peaks, that's only because the band was busy elsewhere, piecing together some of the best-realized songs (as opposed to moods, scapes, and symphonies) of its career. By that token, then, Last Autumn's Dream takes a lot more getting used to than longtime fans might have expected; the funkily pretty "May Queen," the proto-Eno-esque "Borne on the Solar Wind," and the freaked guitar rage of "The Snake" all emerge out of nowhere to slice away at preconceptions, while even the "typical" numbers have atypical moments. For anybody just discovering Jade Warrior, Last Autumn's Dream is certainly the last of its truly essential albums; subsequent releases for the Island label have their moments, but they grow scarcer as time elapses. For anyone schooled in the delights of the first two LPs alone, however, there are things in here you might never forgive, like "The Demon Trucker." AMG.listen hereBuy @ Amazon:
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