Anne Briggs - The Time Has Come 1971

Anne Briggs' second album appeared in 1971, but in sharp contrast to her debut, where she'd sung traditional music with scarcely any accompaniment, this was virtually all contemporary material, most of it self-penned, with Briggs playing guitar and bouzouki. Included was the title track, which had already been covered by former boyfriend Bert Jansch, and showed Briggs to be a writer of some power (although, to be fair, Jansch's slower, more reflective version remains the better), and it's also the standout among Briggs' material, followed by "Wishing Well," where Jansch gets the co-writing credit. "Ride Ride" is a pastiche railroad song (obviously British railways don't have quite the same appeal), and the opening "Sandman's Song" harks back to innocent childhood, albeit a rather strange one. The choice of covers is far from obvious, but very tasteful. Steve Ashley's "Fire and Wine" could almost be a traditional piece, while the perkiness of Henry McCulloch's "Step Right Up" works well with Briggs' artless voice. Very much influenced by the folk revival which brought her into the public eye, her voice is untutored and unself-conscious, appealing in an offhand way. But it definitely quavers a little, even on her own work, and she seems most comfortable with the record's only traditional piece, "Standing on the Shore." To give credit, Briggs throws in a couple of bouzouki instrumentals, "Highlodge Hare" and "Clea Caught a Rabbit," that show some command of the instrument. The whole here might be less than the sum of its parts -- but the parts, in some intangible way, remain very appealing. AMG.

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13th Floor Elevators - Easter Everywhere 1967

On their groundbreaking debut album, the 13th Floor Elevators sometimes sounded as if they were still learning how to work with the strange beast of their own creation known as psychedelic rock. But their second set, 1967's Easter Everywhere, found them a great deal more comfortable and confident with their loose and hypnotically trippy approach. Easter Everywhere doesn't have an out-of-the-box classic cut like "You're Gonna Miss Me" or "Fire Engine" from The Psychedelic Sounds of the 13th Floor Elevators, but in many ways it's a more cohesive and consistent work, and the subtle but effective structures of the longer tracks grow and develop through repeated listenings, while rockers like "She Lives (In a Time of Her Own)" and "Levitation" pack a surprisingly visceral punch. Stacy Sutherland was never a blazing guitar hero, but his concise aural punctuations on the epochal "Slip Inside This House" and a superb cover of Dylan's "It's All Over Now, Baby Blue" are perfectly suited to the material. In addition, the rhythm section of Dan Galindo on bass and Danny Thomas on drums locks these songs into place with confidence and skill. The strange patterns of Tommy Hall's electric jug playing are as gloriously bewildering as ever, merging the music of the spheres with an alien attack, and Roky Erickson's vocals make even the most acid-damaged poesy sound passionate, graceful, and wildly alive. And Roky and the Elevators never sounded sweeter and saner than they did on the penultimate tune, "I Had to Tell You," with Roky seemingly offering a postscript to his many sad years to follow with the words "If you fear I'll lose my spirit/Like a drunkard's wasted wine/Don't you even think about it/I'm feeling fine." Even if less influential than The Psychedelic Sounds of the 13th Floor Elevators, Easter Everywhere is every bit as compelling and a true benchmark of early psychedelic rock -- not bad for an album produced by Kenny Rogers' brother. AMG.

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Bull Angus - Free For All 1972

Poughkeepsie's Bull Angus was one of those bands that should have been huge. With Franke Previte handling the vocals with extraordinary ease and a style that blended Zeppelin, Deep Purple and southern rock, the band released two exceptional albums for Mercury before folding and disappearing. Not much is known about the whereabouts of the former members, but Previte went on to front Franke & the Knockouts before writing the Grammy award-winning, "The Time of My Life" from the Dirty Dancing soundtrack. Bull Angus' debut was reissued a few years ago by Skyf Zol Records, but this gem has yet to see the digital treatment. Feast your ears upon this hard rock classic and marvel at one of the 70's lost talents.

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Jimi Hendrix - The Cry Of Love 1971

This was the first of the posthumous releases in the Jimi Hendrix catalog and probably the best as it collected most of the studio tracks that were either completed or very near completion before Hendrixdied. Some of these tunes, like "Angel" and "Ezy Rider," have become well-known pieces in the Hendrixcanon, but they sit alongside lesser-known gems like "Night Bird Flying" and the Dylanesque "My Friend." Cry of Love as an album has been rendered as a footnote, since the Hendrix estate has recompiled, to Hendrix's specifications, First Rays of the New Rising Sun. This (originally) double-album set contains not only the entire Cry of Love LP, but the best studio tracks from Rainbow Bridge, War Heroes, and Crash Landing, presented in drastically improved sound. AMG.

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Dick Morrissey - There & Back 1965

Saxophonist Dick Morrissey towered among the finest and most innovative British jazz musicians of his generation when he teamed with guitarist Jim Mullen to spearhead the UK fusion movement of the 1970s. Born May 9, 1940 in Horley, England, Morrissey taught himself the clarinet at age 16, later mastering all of the saxophones and the flute. In his late teens, while apprenticing as a jeweler, he played with the Original Climax Jazz Band, followed by a stint in trumpeter Gus Galbraith's septet, where alto saxophonist Pete King introduced Morrissey to his chief inspiration, Charlie Parker. Tenor saxophone remained his weapon of choice for years to follow, and as he gravitated to bebop. Morrissey formed his own quartet in the spring of 1960 and cut his debut LP, It's Morrissey, Man!, the following year. He spent much of 1962 in Calcutta, where he joined the Ashley Kozak Quartet during their lengthy residency at the Trincas Restaurant. Upon his return to Britain, he formed a new quartet with pianist Harry South, bassist Phil Bates, and drummer Phil Seaman that appeared regularly at Ronnie Scott's famed jazz club and cut the 1965 Mercury LP Storm Warning. Morrissey also backed visiting American musicians like trombonist J.J. Johnson, and in 1966 cut a live LP with blues great Jimmy Witherspoon.

With the emergence of free jazz, Morrissey deftly adapted his bold, fluid style to fit more abstract contexts, and in 1969 he founded the pioneering jazz-rock unit If with guitarist Terry Smith. Although inspired by the American acts Blood, Sweat & Tears and Chicago, If contrasted sharply with their contemporaries by subtracting brass instruments from the equation, relying on Morrissey's hard-edged saxophones, Smith's trebly guitar, and frontman J.W. Hodgkinson's velvety, elastic vocals. If proved far more successful at home than overseas, even settling in Sweden for some time. After a series of acclaimed LPs, the group dissolved in 1975 and Morrissey teamed with keyboardist Mike Carr, a regular collaborator throughout the years that followed. He next toured the U.S. with Scottish funk expatriates the Average White Band, and while in New York City, collaborated with fellow fusion pioneer Herbie Mann. With his return to Britain, Morrissey teamed with guitarist Mullen for what would prove his most popular and enduring project. Beginning with the 1977 LP Up, cut with the Average White Band, the duo embraced everything from bop to pop to funk and found favor with listeners on both sides of the jazz-rock dyad via acclaimed efforts such as 1979's Cape Wrath.

In all, Morrissey and Mullen co-headlined six albums, with the former often playing soprano saxophone in favor of his traditional tenor. Over time, the duo veered increasingly towards the mainstream, but never earned the American commercial foothold that would have vaulted their career to the next level, and the duo finally split following 1988's Happy Hour. Morrissey then resumed his solo career, additionally building upon a vast and varied session career that extended well beyond jazz to include sessions with Paul McCartney, Peter Gabriel, Gary Numan and Roy Harper. He also appeared on the Vangelis-composed soundtrack to Ridley Scott's groundbreaking sci-fi classic Blade Runner. Morrisseycontinued to flirt openly with the pop mainstream on sessions including 1988's Soliloquy, although he remained rooted in traditional jazz as well, with sterling contributions to Carr's 1993 organ-jazz classic Good Times and the Blues. He spent many of his final years in Portugal, remaining an active musician until spinal cancer confined him to a wheelchair. Morrissey nevertheless occasionally sat in with his son Jasper's jazz combo, and in August 2000 reunited with Mullen for a tribute concert at Deal's Astor Theatre. He died November 8, 2000 in Kent. AMG.

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Shuggie Otis - Freedom Flight 1971

1971's Freedom Flight is perhaps, in its own way, every bit as adventurous and regal as Shuggie Otis' masterpiece, Inspiration Information. Produced by Shuggie's father, R&B legend Johnny Otis, the album features seven stellar, genre bending cuts, most of which were written or co-written by Shuggie. Oh yes, he was 15 was the time. Shuggie not only arranged the date, he played everything from guitars and bass organ to various percussion instruments. Additional musicians include Wilton Felder, Stix Hooper, Aynsley Dunbar, Preston Love, George Duke, and a trio of backing vocalists -- Clydie King, Venetta Field, and Shirley Matthews -- all of whom would grace Bob Dylan's Street Legal a few years later. In addition, Johnny employed a full string section for these sessions. Upon listening to Freedom Flight, the influence of Jimi Hendrix is everywhere. Not so much in Shuggie's playing, but in its texture and production. He and Johnny had obviously spent a lot of time listening to Axis: Bold As Love and Electric Ladyland. In addition, the recordings of Taj Mahal, Fred McDowell, and Frank Zappa figure in here, too. Freedom Flight boasts Shuggie's single greatest composition: "Strawberry Letter 23," a monster platinum single for the Brothers Johnson. But it's Shuggie's version that stands the test of time best. It's slower, much more baroque and paisley than the cover. The tenderness in Shuggie's voice as he intones the lyrics is a real draw. "Me And My Woman," is one of the funkiest blues tunes ever recorded, with its dirty keyboard bassline that George Clinton stole wholesale three years later. In addition, two long instrumental works that end the album, "Purple" (just try to convince someone that Prince didn't listen to this tune in particular, and this album in general, over and over again before forming his aesthetic), and the title tracks are visionary and expansive with jaw-droppingly virtuoso guitar playing that is so tastefully, soulfully, and elegantly executed it' still hard to believe after all these decades that a 15 year old ever played them: Stevie Ray Vaughan had nothing on Shuggie. Freedom Flight is just as important as Inspiration Information. It's a bit rawer, not quite as lush, but it is every bit as visionary and groundbreaking. AMG.

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Family - Family Entertainment 1969

Family Entertainment followed on the heels of Family's Music in a Doll's House with the band's first incarnation: Roger Chapman (harmonica/tenor sax/vocals), Rick Grech (violin/cello/bass guitar/vocals), Rob Townsend (percussion/drums), John "Charlie" Whitney (guitar/pedal steel guitar/keyboards), and Jim King (harmonica/keyboards/soprano sax/tenor sax/vocals). While not totally dismissing their psychedelic leanings, much of the material bears a stronger acoustic influence, in much the same manner as Fairport Convention and Traffic were also exploring. The jazzy sitar lead of "Face in the Cloud" and the even more prominent Eastern-flavored "Summer '67" somewhat date the affair, and are contrasted by the beautifully noir and trippy "How-Hi-the-Li" (which may have been the impetus for Chicago's "Wishing You Were Here") and the upbeat "Hung Up Down," sporting Grech's unmistakable violin as it wafts over the rural and slightly surreal lyrics. These sides are set against the edgy "Weaver's Answer," which immediately establishes a broader spectrum of styles, most notably given Chapman's commanding if not slightly intimidating vocals. Whitney's blistering fretwork yields bite to the Grech-penned "Second Generation Woman," while "Emotions," another full-tilt rocker, is infused with an apparent R&B homage. Interested parties should note that Family Entertainment and Music in a Doll's House were issued in a double-disc package featuring a commendable 24-bit digital remastering rendering all other versions useless -- especially the early-'90s pressing on the German Line label. Not only are both LPs included, but the 45s "Scene Through the Eye of a Lens" and "Gypsy Woman" are finally brought into the digital domain. The accompanying 40-page liner booklet is likewise a feast for the eyes. AMG.

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Captain Beefheart & The Magic Band - Clear Spot 1972

Producer Ted Templeman was a bit of a surprising choice given his firmly mainstream production credits, with the Doobie Brothers already under his belt and Van Halen lurking in the near future. As it turned out, such a combination led to a better-working fusion than might be expected, making one wonder why in the world Clear Spot wasn't more of a commercial success than it was. The sound is great throughout, and the feeling is of the coolest bar-band in town, not to mention one that could eat all the patrons for breakfast if it felt like it. Consequently, fans of the fully all-out side of Beefheart might find the end result not up to snuff, but those less concerned with pushing back all borders all the time will enjoy his unexpected blend of everything tempered with a new accessibility. "Nowadays a Woman's Got to Hit a Man," besides having a brilliant title, shows the balance perfectly -- Van Vliet serves up his rough asides with all his expected wit and sass, while the Magic Band trade off notes here and there just so. At the same time, the track is strong blues-rock that doesn't pander, with a particularly fierce solo thanks to Zoot Horn Rollo. "My Head Is My Only House Unless It Rains" is a great love song, the softer arrangement saved from being too off by Beefheart's delivery. Other winners include the title track, a sharp combination of an off-kilter arrangement for a straightforward melody, the great shaggy-dog story of "Golden Birdies," and "Big Eyed Beans from Venus," a fantastically strange piece of aggression. AMG.

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Reverend Gary Davis - Pure Religion and Bad Company 1957

This Rev. Gary Davis release has been issued throughout the world under a bevy of names and should not be confused with the Prestige disc simply titled Pure Religion. These recordings are notable for both their sacred and secular nature. Equally as interesting is the wide range of performance styles that the Reverend incorporates throughout this long-player. Among them are the rarely displayed preachin' blues of "Bad Company," "Runnin' to the Judgement," and "Pure Religion." Notable are the spoken introductions or talkin' blues recitation techniques, as well as the more obvious and overtly religious themes. Davis took his commitment to the Lord seriously and had become an ordained minister in the summer of 1937. His vehemence and compulsion to spread the word is a blatant motif that works on several simultaneous strata. In the musical parables of "Seven Sisters" -- which should not be considered a voodoo reference -- and "Right Now," Davis recalls the fatality of not rebuking sin with lyrics like the following: "Don't 'cha put off today for tomorrow -- for tomorrow may never be. Let the Saviour bless yo' soul, right now." This collection also includes a few equally heady instrumentals -- most notably "Cocaine Blues," "Buck Dance," and "Hesitation Blues." Davis' astonishingly potent guitar playing and conversational approach have arguably never been captured more aptly on record. The direct lineage to artists such as Dave Van Ronk, Jorma Kaukonen, Stefan Grossman, and Brownie McGee becomes infinitely clear. Their versatility in technique coupled with simultaneous chord strumming and picking can be sourced right here. "Moon Goes Down" is one of the more secular pieces and originates in the slave fields as a "holler." Davis' emotionally heavy performance and dirge-like chord changes rank the tune among his most emotive recordings. AMG

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Sandie Shaw - Me 1965

Shaw's second album was a substantial improvement on her debut in every respect, though hardly a major effort. It helped that Chris Andrews (who wrote most of her hits) supplied a lot of the tunes. and Shaw herself contributed a fair effort with her first original composition, "Till the Night Begins to Die." "Down and Dismal Ways" is as down and dirty as Sandie ever got (which means that it's still pretty innocuous). Still, you can't help wondering how much better Lulu or Dusty Springfield would have done with the same material. No need to look for a rare, pricy copy of the original LP; all of the songs are included on the British double-CD compilation 64-67 Complete Sandie Shaw Set. AMC.

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T2 - It'll All Work Out In Boomland 1970

It'll All Work Out in Boomland is the debut album by British progressive rock band T2, and also their best-known album. It is regarded as an excellent album by the progressive rock community.

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Spirit - Clear 1969

Although this album may not be seen as the definitive Spirit statement, it has several moments of brilliance that prove what a revolutionary band they were. Coming off of the success of The Family That Plays Together and "I Got a Line on You," the group entered the studio with Lou Adler once again in the producer's chair. Unfortunately, the group appeared to be beginning to fragment, and it shows on this uneven but ultimately fine album. "Dark Eyed Woman" opens the album with promise, and it is indeed one of Spirit's hardest-rocking studio performances. Randy California's inspired guitar solo is one of the finest performances of the period. The riff and general feel of the track (right down to the siren sound effects) were borrowed by Traffic on "Shoot Out at the Fantasy Factory." The record tends to go downhill from there (primarily due to some uninspired songwriting), but is not without its high points, like "Cold Wind" and the awesome closer "New Dope in Town." AMG.

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Steamhammer - MK II 1970

The second version of the British combo Steamhammer released its first LP utilizing the talents of Steve Davy (bass), Martin Pugh (guitars), and Kieran White (vocals/guitar/harmonica/Jew's harp) from the original band as well as new recruits Steve Jolliffe (woodwind/brass/harpsichord/vocals) and Mick Bradley (drums). It was the blues that initially drove the combo on its debut long-player, Reflection (1969), likewise known as Junior's Wailing. This lineup adds more exploratory and intricate melodies, courtesy of the multi-instrumental talents and sonic sculpting of future Tangerine Dream member Jolliffe. While this version of the band would not remain past this album, its unique fusion would arguably peak on Mountains (1970), the follow-up to MK II (1969). There are definite shapes of things to come throughout this effort, thanks to the aggressive interaction of the new recruits. They immediately step up to the plate, providing a variety of interesting melodic and instrumental textures. These range from the full-speed gallop of Jolliffe's "Johnny Carl Morton" or the Baroque waltz "Turn Around" -- both of which are punctuated by some prominent harpsichord interjections reminiscent of other U.K. progressive groups such as Family and Blossom Toes. Pugh's guitar work is another of the band's conspicuous assets, as he is able to fluidly waft between the acoustic romanticism of the diminutive "Sunset Chase" to the bluesy and tongue-in-cheek "Contemporary Chick Con Song." The latter track includes a stretched-out instrumental jam that captures Pugh's criminally underrated electric fretwork. Steamhammer's various and seemingly disparate musical elements coalesce on the manic "6/8 for Amiran." They blend the complexities inherent in the time signature with a tightly executed and churning blues -- much in the same way that early Jethro Tull was able to do on sides such as "Nothing Is Easy" or "For Our Mothers." The second side consists of a suite containing "Down Along the Grove," "Another Travelling Tune," and "Fran and Dee Take a Ride." This 16-plus minute epic allows Steamhammer to improvise and stretch out. The open structure makes room for the various musical styles to be thoroughly explored with more intricacy than a majority of the three- and four-minute tunes. The double lead electric guitars, courtesy of the song's co-authors, Pugh and White, blend well with Jolliffe's jazzy sax and flute improvisations. Enthusiasts are encouraged not only to seek this platter, but the Mountains (1970) follow-up as well. AMG.

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Barbara Acklin - Love Makes A Woman 1968

Always classy and elegant, Barbara Acklin's debut album, Love Makes a Woman could survive on the reputation of the title track alone. One of the premier recordings of writer/producer Carl Davis, "Love Makes a Woman" features the bright horns and relaxed rhythms that are hallmarks of his productions for the Brunswick label. Coupled with Acklin's tense, confident delivery, the results are one of pop-soul's true shining moments. Well-written originals here, like "Be By My Side" and "Come and See Me Baby," more than stand up to covers from the Bacharach/David canon, making this one of the most solid soul debuts ever released. AMG.

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Camel - Mirage 1974

With their second album, Mirage, Camel begin to develop their own distinctive sound, highlighted by the group's liquid, intricate rhythms and the wonderful, unpredictable instrumental exchanges by keyboardist Pete Bardens and guitarist Andy Latimer. Camel also distinguish themselves from their prog rock peers with the multi-part suite "Lady Fantasy," which suggests the more complex directions they would take a few albums down the line. Also, Latimer's graceful flute playing distinguishes several songs on the record, including "Supertwister," and it's clear that he has a more supple technique than such contemporaries as Ian Anderson. Camel are still ironing out some quirks in their sound on Mirage, but it's evident that they are coming into their own. AMG.

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