Sly & The Family Stone - Small Talk 1974

A new bass player and drummer signaled a toned-down Sly & the Family Stone sound. Partially in keeping with changes in much of popular music in the early '70s, and maybe the result of marriage and a child, Sly became more introspective, quieter, and calmer, even employing a string section on various cuts. A less exhilarating album than earlier efforts, there is still much of merit here, including the Top Ten R&B hit "Time for Livin'." AMG.

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Jade Warrior - Waves 1975

In Jade Warrior's second album for Island Records, atmosphere takes center stage over melody, and jam sessions supplant structure. The record consists of a single composition. Parts one and two were needed because it was released in pre-CD days and the song took up both sides of the LP, identifying the entire album under a single title -- an unwise strategy. "Waves" has no recurring theme; it opens with a Brian Eno-influenced ambient passage and meanders from there. Listeners find it difficult to identify the strongest passages, but the artists undoubtedly intended that the album be heard in its entirety rather than in small chunks. This might have seemed noble at the time, but it resulted in a nightmare for radio programmers who might have provided Waves with the airplay it desperately needed to push Jade Warrior beyond cult status. Tony Duhig and Jon Field wrote the music and played most of the instruments. Steve Winwood guests on keyboards; his piano solos evoke a style familiar to Traffic's Low Spark of High-Heeled Boys era. Perennial bit player David Duhig is used sparingly but sparkles on lead guitar. AMG.

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Emmett Finley - Emmett Finley 1971

Despite a growing reputation, the eponymous and sole album of Emmet Finley remains one of the best-kept secrets in pop music. This is really something huge almost as good as Michael Angelo. Both albums have that same dreamy feel that we all looking for. The songs are strong pop/rock with complex, elaborate structures and unpredictable tempo changes, a kind of melting pot of pure sadness and anger. Worth the listen. 

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Paul Brett - Clocks 1974

Paul Brett is well known as an exponent of the 12-string guitar. The list of people he has played with is impressive indeed - much in demand for sessions, tours etc., he has played for a host of folks, from Max Bygraves to Status Quo, from Barclay James Harvest to Lonnie Donegan, from Crazy World of Arthur Brown to short-lived psych-pop outfit Tintern Abbey. With the latter he recorded the highly collectable single which is their only output. From a Strawbs' point of view he has circled round the band - playing with various soon-to-be Strawbs - without ever actually joining.

Elmer Gantry's Velvet Opera had grown out of r'n'b band Five Proud Walkers and recorded their first album and their first two singles, with the eponymous leader on guitar and vocals. In early 1969, Elmer left the band, as did guitarist Colin Forster, and Hud and John recruited Paul and Johnny Joyce (formerly with the Levee Breakers) to join them as a slightly more acoustically oriented outfit. They later shortened their name to simply the Velvet Opera and recorded the band's second album Ride A Hustler's Dreamand a number of singles. It was that incarnation which played at the opening night of Dave Cousins' White Bear-based Hounslow Arts Lab on 1 July 1969. In late 1969, he recorded the lead guitar on Strawbs' "The Vision Of The Lady Of The Lake" for the Dragonfly album.

After Velvet Opera, Paul was involved in the recording of The Magic Shoemaker album by Fire - Dave Lambert, Dick Dufall and Bob Voice. Dave Cousins guested too, on banjo. The album was disappointing sales and production-wise and Lambert decided to split with long-time associates Dufall and Voice, who promptly hooked up with Paul to form Paul Brett's Sage, adding Stuart Cowell as lead guitarist which recorded three albums for Pye and Dawn (Pye's progressive label). Dave Lambert guested on piano and organ on several tracks on Schizophrenia, and Rod Coombes drummed on one track. Paul King, later to play alongside Lambert in the King Earl Boogie Band, played harmonica on a track on Jubliation Foundry. From 1973 onwards Paul began to concentrate on a solo career, releasing a couple of attractive song-based solo albums on Bradleys Records, backed by violinist/guitarist Mike Piggott, adding multi-instrumentalist Dave Griffiths for the second. Rod Coombes popped up again on drums on the first. Bradleys made a push to establish him, releasing several singles from the albums.

A privately pressed album Phoenix Future followed in 1975, before Brett turned to the genre which is now his trademark, the twelve string guitar instrumental. Earth Birth, his critically-acclaimed first 12 string guitar suite, was released first released on his own label, then led to a 4 album deal with RCA, where it was the first release in 1977. Rod Coombes guests again on Interlife (1978), and Johnny Joyce plaus on two tracks on Eclipse (1979). He then released some high-selling "easy listening" guitar albums on the K-Tel label and a number of music library releases, before concentrating on other activities - live show production including holiday/cruise work, music journalism. His longtime interest in collecting guitars led to his becoming a Marketing Consultant for Aria Guitars, who went on to develop a range of Paul Brett signature guitars.

In 2001 he released a duo CD of acoustic instrumentals with Johnny Joyce - Acoustic Power - followed up by a solo album Free Spirit in 2002. Followng that, Solo Orchestral 12 string Guitar, The Lleyn, and in April 2005, the strangely named Anal Tap. 

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Parliament - Up For The Down Stroke 1974

Kicking off with one of prime funk's purest distillations -- the outrageously great title track, with a perfect party chorus line and uncredited horns (presumably the Horny Horns were involved somehow) adding to the monster beat and bass -- Up for the Down Stroke finds Parliament in rude good health. As was more or less the case through the '70s, Parliament took a slightly more listener-friendly turn here than they did as Funkadelic, but often it's a difference by degrees. Just listening to some of Bernie Worrell's insane keyboard parts or Bootsy Collins' bass work here is enough to wake the dead. As always, Worrell in particular can suddenly surprise with his delicacy -- the soft, understated flow of "I Just Got Back" may have lyrics that could be sung by Jon Anderson, at least at points, but the piano lines have subtle, dreamy grace, the antithesis of Rick Wakeman's masturbations. For that matter, Peter Chase's whistles are downright delightful, goofy, and sweet all at once. Slightly more oddball is "All Your Goodies Are Gone," which has a bit more upfront bite and some downright strange lyrics, delivered with a stoned, breathless tone and backed by unearthly choir arrangements. Eddie Hazel is still listed as present and contributing, though unfortunately not for long after, with Ron Bykowski, Gary Shider, and William Nelson also chipping in as needed. Hazel co-writes two of the songs; it's a pity "The Goose" runs out of steam toward the midpoint of its nine minutes, but it makes for pleasant background music if not Parliament at its unfettered best. In the meantime, Clinton and various familiar voices like Fuzzy Haskins and Grady Thomas keep the weird wiggliness of the lyrics flowing. In a nod to the group's past, "(I Wanna) Testify," here simply called "Testify," gets a 1974-era work over. AMG.

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Carolyn Hester Coalition - Magazine 1970

The second and final Carolyn Hester Coalition album was similar enough to the first that it sounded as if it could have been recorded at the same session. There was that same odd blend of folkiness and trendy Californian pop-psychedelic production; however, the mood was more subdued and the material blander this time around. The strange cover of "(Sittin' On) the Dock of the Bay" is a low point, but "Just Follow Me" is in line with the best moments of the first CHC LP in its attractive combination of a folky, haunting melody and Hester's girlish, high-pitched vocals. AMG.

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Dave Lewis - From Time to Time 1976

David Lewis began playing guitar and piano and writing songs at a very young age, appearing in talent contests and on local TV in Northern Ireland. In 1967 he joined the psychedelic band The Method which became Andwellas Dream in 1968. In 1969 while still a member of Andwellas Dream, he recorded some of his songs for a publisher's demo album "The Songs Of David Lewis". Intended as a calling card for his song-writing skills, this was a very limited private pressing, probably only a few hundred copies made, and is now a major rarity. 

Andwellas Dream released three albums between 1969 and 1971, the last two under the name Andwella. The band also worked on David Baxter's solo LP during this period. When Andwella split, David pursued a solo career. Two solo albums emerged on Polydor Records, "From Time to Time" in 1976 and "A Collection of Short Dreams" in 1978. The former is soft melodic AOR, the latter more uptempo soul. Both are difficult to locate but are bound to be somewhat of a disappointment to those expecting something in the vein of Andwella's "Love and Poetry" album. However, the songs are well written and the playing is excellent through. Not a million miles away from Boz Scaggs mid-70s records. 

Dave has also written many songs for other artists including "Happy To Be On An Island In The Sun", which was a worldwide hit for legend in his own lunchtime Demis Roussos.

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Roland Kirk - The Inflated Tear 1968

The debut recording by Roland Kirk (this was still pre-Rahsaan) on Atlantic Records, the same label that gave us Blacknuss and Volunteered Slavery, is not the blowing fest one might expect upon hearing it for the first time. In fact, producer Joel Dorn and label boss Neshui Ertegun weren't prepared for it either. Kirk had come to Atlantic from Emarcy after recording his swan song for them, the gorgeous Now Please Don't You Cry, Beautiful Edith, in April. In November Kirk decided to take his quartet of pianist Ron Burton, bassist Steve Novosel, and drummer Jimmy Hopps and lead them through a deeply introspective, slightly melancholy program based in the blues and in the groove traditions of the mid-'60s. Kirk himself used the flutes, the strich, the Manzello, whistle, clarinet, saxophones, and more -- the very instruments that had created his individual sound, especially when some of them were played together, and the very things that jazz critics (some of whom later grew to love him) castigated him for. Well, after hearing the restrained and elegantly layered "Black and Crazy Blues," the stunning rendered "Creole Love Call," the knife-deep soul in "The Inflated Tear," and the twisting in the wind lyricism of "Fly by Night," they were convinced -- and rightfully so. Roland Kirk won over the masses with this one too, selling over 10,000 copies in the first year. This is Roland Kirk at his most poised and visionary; his reading of jazz harmony and fickle sonances are nearly without peer. And only Mingus understood Ellington in the way Kirk did. That evidence is here also. If you are looking for a place to start with Kirk, this is it. AMG.

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Edge - Edge 1970

The only album of the quartet from California. Richard Barcellona and John Keith previously played together in the group "The American Revolution" and David Noogroski in the "Boston Tea Party". In 1969, in Los Angeles, they met with producer Norma Malkin, who helped them record and release the single "Something New / Seen Through The Eyes". The group acted as a warm-up for "Three Dog Night" and "Sweetwater". In 1970, the band joined bassist Galen Murphy, and the band released the self-titled album on the independent label "Nose Records", which soon after ceased to exist.

The sound of the band is a mixture of hard rock with progressive strokes, excellent instrumental effects, and watering of the powerful organ of Hammond.

Who loves Iron Butterfly and Steppenwolf, he will identify himself with the sound of these bands, as they will follow the powerful influence of the two. A rare pearl, just worth checking out.

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Carm Mascarenhas - Someday Soon 1975

Very rare top-notch acid folk psych out of Canada. Dreamy cosmic feel with great lyrics and musicianship. Worth a listen.

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Bob Marley & The Wailers - Babylon By Bus 1978

Arguably the most influential live reggae album ever, Babylon by Bus captures Bob Marley and the Wailers during the European leg of their Kaya tour in the spring of 1978. The success of this set was not entirely unexpected, however. If the universal and widespread acclaim of Live! -- their first concert recording -- was an indicator, all involved knew that a Bob Marley & the Wailers performance contained unique energies and a vibe all of its own. Sharply contrasting the somewhat pastoral grooves of the Kaya album, Babylon by Bus possesses a more aggressive sound -- which was a trademark of this particular band. Tyrone Downie's progressive rock keyboard flavors on "Exodus," as well his judiciously located percussive clavinet accentuations during "Punky Reggae Party," lock-in with Aston "Familyman" Barrett's viscous basslines to create something akin to psychedelic reggae or even along the lines of Parliament/Funkadelic. Likewise, "Heathen" highlights Anderson's explosive guitar leads, which are distinctly reminiscent of Eddie Hazel from his early days with Funkadelic. The lead guitar solos on "Rebel Music (3 O'Clock Roadblock)" and "Is This Love" also define Al Anderson's innovative and decidedly Western guitar style, as it is seamlessly and thoroughly integrated with Marley and the Wailers. As with their first concert album, Babylon by Bus highlights material from the band's history up to that point. "No More Trouble" is placed in an entirely new context when linked with "War," which features lyrics taken from a United Nations speech given by Haille Selassie I, the Ethiopian emperor considered the father of modern Rastafarianism. Other early tracks, such as "Kinky Reggae" and "Stir It Up," prove to be not the only favorites of concert attendees. More recent offerings of "Is This Love," "Jammin'," and "Exodus" actually garner the most audible support. Without question, Babylon by Bus is an integral component of any popular music collection. AMG.

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Brave New World - Impressions on Reading Aldous Huxley 1973

Exceptional psych-electronic rock experimentations by another obscure 70's band from Germany. This album is said to be inspired by Aldous Huxley's famous, enchanting writings & mystical philosophy. It's clear that the entirety of the album is assured by a vast arsenal of weird incantations and deep hallucinogenic effects. The content is very colorful, luminous, eclectic and perfectly orchestrated. Nothing is linear or boring and the psych grooves work like magic. It's not easy to understand in one listening to the complexity of this release. In some aspects, it tends to be near to kraut-experimentations but without the sinister vibe, the ambiances provided are rather optimistic and enthusiastic. The prologue is based on dreamy-like flute lines and tranced-out organic drones. "Alpha Beta Gamma" is an epic, progressive spacey rock composition dominated by soft, pop, floating-sounding improvisations. "Lenina" is an enigmatic, fragile, celestial song for the flute, moody bass lines, a beautiful air. "Soma" is a really stoned, kraut, outer space experience, featuring a lot of intergalactic electronic sounds and massive rocking energy! "The end" is the central piece here, a majestic "cosmic" rock essay with a lot of guitars, sax, dreamy flutes, and weird effects. Epilogue is a recitation. A mesmeric, highly inspired psychedelic album. A little classic! "Progarchives"

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Little Feat - Dixie Chicken 1973

Following Roy Estrada's departure during the supporting tour for Sailin' Shoes, Lowell George became infatuated with New Orleans R&B and mellow jamming, all of which came to a head on their third album, 1973's Dixie Chicken. Although George is firmly in charge - he dominates the record, writing or co-writing seven of the 10 songs - this is the point where Little Feat found its signature sound as a band, and no album they would cut from this point on was too different from this seductive, laid-back, funky record. But no album would be quite as good, either, since Dixie Chicken still had much of the charming lyrical eccentricities of the first two albums, plus what is arguably George's best-ever set of songs. Partially due to the New Orleans infatuation, the album holds together better than Sailin' Shoes and George takes full advantage of the band's increased musical palette, writing songs that sound easy but are quite sophisticated, such as the rolling "Two Trains," the gorgeous, shimmering "Juliette," the deeply soulful and funny "Fat Man in the Bathtub" and the country-funk of the title track, which was covered nearly as frequently as "Willin'." In addition to "Walkin' All Night," a loose bluesy jam by Barrere and Bill Payne, the band also hauls out two covers that fit George's vibe perfectly: Allan Toussaint's slow burner "On Your Way Down" and "Fool Yourself," which was written by Fred Tackett, who later joined a reunited Feat in the '80s. It all adds up to a nearly irresistible record, filled with great songwriting, sultry grooves, and virtuosic performances that never are flashy. Little Feat, along with many jam bands that followed, tried to top this album, but they never managed to make a record this understated, appealing, and fine. AMG.

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Pepper Tree - You're My People 1971

Pepper Tree hailed from Nova Scotia and was formed in 1967. After a few years of saturating the club scene in Canada, the band finally landed a contract with Capitol Records in 1969. 

Producer, Jack Richardson, was drafted to produce a single which saw the band charting in their native country. Lineup changes ensued over the next year, until "You're My People" hit store shelves in 1971.

The album was a solid mix of folk, pop, prog, and organ-driven hard rock. With stellar harmonies and a real wealth of musical diversity, the album seemed poised for success, but for one reason or another that never came to pass. More lineup changes took place over the next two years with Capitol issuing numerous failed singles. By 1973, the band was belly up and members went on to such bands as Rhinegold, Molly Oliver, Hanover Fist, Wrabit, Lee Aaron, Chilliwack, and Headpins. Many of them are still active in both performing and producing music.

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Edgar Winter - Entrance 1970

Edgar Winter came out of the chute kicking with this remarkable record filled with jazz, blues, and a little old-fashioned rock & roll. The record follows an established theme throughout its first side, stringing the songs together without breaks, highlighted by dreamy keyboard and sax work, plus Winter's smooth vocalizations. But jazz isn't the only thing Winter brings to the party. His first recorded version of the old J.D. Loudermilk tune "Tobacco Road" throws a few nice punches (although the live version with White Trash a few years later would prove the definitive one). "Jimmy's Gospel" plays on his early church influences, while "Jump Right Out" is the predecessor of half-a-dozen "jump up and dance" numbers Winter would pepper his records within the years to come. AMG.

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