tag:blogger.com,1999:blog-45065200671291277942012-01-23T09:11:13.408-08:00Music and Fashion of world designAmelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.comBlogger4991100tag:blogger.com,1999:blog-4506520067129127794.post-24200794605124531922012-01-12T11:04:00.000-08:002012-01-15T11:24:40.540-08:00

James Moody's mid-'50s band was a septet featuring four horns including the leader's tenor and alto. The bop-based group had plenty of spirit (as best shown here on the 14-minute title cut) if not necessarily a strong personality of its own. This CD (a straight reissue of the original LP plus two additional titles from the same session) is accessible, melodic and swinging; trumpeter Dave

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The debut album from the Atlanta-based funk aggregate spawned three singles and a host of soul numbers. The first single from the album was "Music Matic," a smooth yet funky composition in which the group expresses the lyric in unison, augmented by Jimmy Brown's commendable flute and sax solos. The second single was "Dazz," which was defined by the group in the chorus as "disco jazz." With

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Love it or hate it, trumpeter Eddie Gale's second Blue Note outing as a leader is one of the most adventurous recordings to come out of the 1960s. Black Rhythm Happening picks up where Ghetto Music left off, in that it takes the soul and free jazz elements of his debut and adds to them the sound of the church in all its guises -- from joyous call and response celebration on the title track (

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On Contours, his second Blue Note album, tenor saxophonist Sam Rivers fully embraced the avant-garde, but presented his music in a way that wouldn't be upsetting or confusing to hard bop loyalists. Rivers leads a quintet featuring trumpeter Freddie Hubbard, pianist Herbie Hancock, bassist Ron Carter, and drummer Joe Chambers through a set of originals that walk a fine line between probing,

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-88702036413925298202012-01-12T10:50:00.000-08:002012-01-15T11:24:40.698-08:00

Manna/Mirage was the Muffins' first album and remained their best work. It is a fantastic blend of Canterbury prog and Henry Cow-ish intricacy, with a soupçon of improvisation. Completely instrumental, the music can also be linked to Happy the Man for its melodic side. "Monkey With the Golden Eyes" is a nice introductory track seguing into the fantastic "Hobart Got Burned," which starts with a

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-83810619312849001422012-01-12T10:46:00.000-08:002012-01-15T11:24:40.794-08:00

The band was subject to rapid success from the time of its formation in 1969, and an equally rapid demise, breaking up in 1972, shortly after the release of their first album.The original band was composed of John Witmer (vocals), Peter Boyko (guitar), Gary Penner (bass), John ("B.J.") Bjarnason (harmonica) and Ron Sullivan (drums). By their second performance, they were an opening act for Led

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-26770775272228034202012-01-05T10:13:00.000-08:002012-01-15T11:24:40.824-08:00

As the Word Press Madshoes's version was closed... , I decide to start a new one, well I can say that Beyond Musicology and Further... is back! So enjoy it! Take care.

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Talk about understatement -- there's Stephen Stills on the cover, acoustic guitar in hand, promising a personal singer/songwriter-type statement. And there is some of that -- even a lot of that personal music-making -- on Stephen Stills, but it's all couched in astonishingly bold musical terms. Stephen Stills is top-heavy with 1970 sensibilities, to be sure, from the dedication to the memory

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A sprawling masterpiece, akin to the Beatles' White Album, the Stones' Exile on Main St., or Wilco's Being There in its makeup, if not its sound. Rock, folk, blues, country, Latin, and bluegrass have all been styles touched on in Stephen Stills' career, and the skilled, energetic musicians he had gathered in Manassas played them all on this album. What could have been a disorganized mess in

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-48876208978504951952012-01-03T13:40:00.000-08:002012-01-15T11:24:41.267-08:00

This reissue, prior to the release of many of Sun Ra's Saturn albums on Evidence CDs, was often thought of as Ra's second recording although now several earlier dates have appeared. The music from Sun Ra's Chicago-based band of the 1950s (some of the same tunes, but different performances, also appear on Evidence's Planet Earth/Low Ways) is quite interesting for its ties to the bop and swing

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-88735836019542454872012-01-03T13:38:00.000-08:002012-01-15T11:24:41.359-08:00

After several years off records, pianist Cecil Taylor finally had an opportunity to document his music of the mid-'60s on two Blue Note albums (the other one was Conquistador). Taylor's high-energy atonalism fit in well with the free jazz of the period but he was actually leading the way rather than being part of a movement. In fact, this septet outing with trumpeter Eddie Gale, altoist Jimmy

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-15867841964468109292012-01-03T13:36:00.000-08:002012-01-15T11:24:41.450-08:00

This late 1967 album found the Hollies making some modest adjustments to the psychedelic era: occasionally trippy studio effects, a sitar on their most psychedelic track ("Maker"), songs that didn't always deal with boy-girl relationships. In fact, however, the group's focus remained where it usually was: modest but pleasing, similar-sounding catchy tunes with high harmonies and strumming

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-73637634025285632302012-01-03T13:33:00.000-08:002012-01-15T11:24:41.541-08:00

The aesthetic and cultural merits of Eddie Gale's Ghetto Music cannot be overstated. That it is one of the most obscure recordings in Blue Note's catalogue -- paid for out of label co-founder Francis Wolff's own pocket -- should tell us something. This is an apocryphal album, one that seamlessly blends the new jazz of the '60s -- Gale was a member of the Sun Ra Arkestra before and after these

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-32254681855385305562012-01-03T13:31:00.000-08:002012-01-15T11:24:41.653-08:00

Before the Commodores started having major adult contemporary hits like "Three Times a Lady," "Easy," and "Still," they were happy to be a full-time funk/soul band. The Southerners became increasingly pop-minded in the late '70s, but when their debut album, Machine Gun, came out in 1974, their music was unapologetically gritty. This was, without question, a very promising debut -- Lionel

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-32112446447757821212012-01-03T13:28:00.000-08:002012-01-15T11:24:41.670-08:00

During the 1952-65 period baritonist Gerry Mulligan was one of the most famous musicians in jazz but he spent the following five years at a lower profile, recording relatively little and not leading any significant bands. Age of Steam was a comeback record of sorts (although he had never declined), giving Jeru the opportunity to lead a big band again. The ensemble performs eight of his

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-3991064133954352192012-01-03T13:26:00.000-08:002012-01-15T11:24:41.762-08:00

The group members may disagree for personal reasons, but Odessa is easily the best and most enduring of the Bee Gees' albums of the 1960s. It was also their most improbable success, owing to the conflicts behind its making. The record started out as a concept album, to be called "Masterpeace" and then "The American Opera," but musical differences between Barry Gibb and Robin Gibb that would

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-611259331836781812012-01-03T13:24:00.000-08:002012-01-15T11:24:41.854-08:00

Do It ('Til You're Satisfied) features two million sellers by the New York natives; the title track and "Express" are funky, irresistible disco gems. Produced by Jeff Lane and mixed by Tom Moulton, the two dancefloor classics features hypnotic basslines, handclaps on alternate beats, and the coolest congas on the planet, all combined with masterfully mixed guitars, saxophones, flutes,

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In the year 2000, the Wire magazine picked this spaced out gem from Native American folksinger and activist Buffy Sainte-Marie as one the "100 Albums That Set the World on Fire." Released in 1969, and now on CD, as of 2001, it was reissued as an import on 180 gram vinyl with its original glorious artwork and package. Interestingly enough, it's a record Sainte-Marie doesn't even list on her

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-15587127070373372011-12-31T14:05:00.000-08:002012-01-15T11:24:42.040-08:00

One more year is gone, and more to come yes!!! Thanks to Bertrand (the MFP), B. (thanks your kindnes for sharing), Mauro Felipe, Adriana , Psegpp, Vasily, Gkapageridis, Bill (24hrDejaVu), Bob (bamabob), Lawrence David, João (La Réunion), Roldo, Chuntao (RareMP3), Entremimente, Las Marias , Marcelo, Lágrima Psycadelica, Mr. JJ, Baby GrandPa, Justin Thyme, Jason, Frank, Bill Jollyherb, Chico ,Steve

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-27009850610062785842011-12-31T03:25:00.000-08:002012-01-15T11:24:42.132-08:00

This title captures Canned Heat during a pivotal era in the band's sordid career. The lineup features Bob "The Bear" Hite (vocals), Alan "Blind Owl" Wilson (guitar/vocals/harmonica), Larry "The Mole" Taylor (bass), Aldolfo "Fito" de la Parra (drums), as well as Harvey Mandel (guitar), who had replaced Henry "Sunflower" Vestine (guitar) before the Heat's appearance at the Woodstock Music and Arts

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Fusion pairs the entirety of Jeremy Steig's landmark 1971 Capitol release Energy alongside unreleased material from the same sessions. Energy is a miracle of alchemy -- Jeremy Steig transforms his flute from the ethereal to the elemental, forging a heavy, deeply funky jazz-rock record that defies gravity. Paired with keyboardist Jan Hammer, bassists Gene Perla and Eddie Gomez, and drummer Don

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-63675857593482871632011-12-31T03:15:00.000-08:002012-01-15T11:24:42.321-08:00

Recorded while Peter Frampton was still in the band, Performance: Rockin' the Fillmore captures an early performance by Humble Pie where Steve Marriot's lyricism and ideas where balanced by Frampton's searing lead guitar. This is hardly as engaging as As Safe Yesterday Is, which had studiocraft along with songcraft, but as a document of a band at a pivotal point in their existence, this is

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-44932246058366162202011-12-31T03:12:00.000-08:002012-01-15T11:24:42.416-08:00

As Oliver Nelson is known primarily as a big band leader and arranger, he is lesser known as a saxophonist and organizer of small ensembles. Blues and the Abstract Truth is his triumph as a musician for the aspects of not only defining the sound of an era with his all-time classic "Stolen Moments," but on this recording, assembling one of the most potent modern jazz sextets ever. Lead

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-91380193622786736592011-12-31T03:07:00.000-08:002012-01-15T11:24:42.505-08:00

In late 1959, 26-year-old trumpeter/arranger Quincy Jones was engaged to conduct a jazz band for a musical called Free and Easy, the songs for which were written by Harold Arlen and Johnny Mercer. The unusual intention was to tour Europe before coming to Broadway, but the show never finished its engagement in Paris, closing down amid recriminations and stranding the cast and the orchestra.

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Candido's first album for Tico is a pure triumph. Fortunately, there's only one crossover cover ("Shadow of Your Smile"), and once that's safely programmed out (or left in as a break), listeners are left with ten tracks of impossibly dense features for Candido, each of which proves how apt his "Thousand Finger Man" title was. The studio band is mid-size, punchy, and energetic enough to

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-60271353386829638872011-12-31T03:02:00.000-08:002012-01-15T11:24:42.681-08:00

The debut Jefferson Airplane album was dominated by singer Marty Balin, who wrote or co-wrote all the original material and sang most of the lead vocals in his heartbreaking tenor with Paul Kantner and Signe Anderson providing harmonies and backup. (Anderson's lead vocal on "Chauffeur Blues" indicated she was at least the equal of her successor, Grace Slick, as a belter.) The music consisted

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Spud released 2 albums on the Philips record label - their 1975 debut 'A Silk Purse' and 'The Happy Handful' (also in 1975). With these two albums already under their belt, the band brought in Paul McGuinness to manage the band. Paul did his first record deal with Sonet which resulted in the release of Spud's third album, 'Smoking on The Bog', in 1978. The band toured for over 8 years and

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-46442830802944394192011-12-26T11:17:00.000-08:002012-01-15T11:24:42.861-08:00

Isle of Wight, last day, and a mark in rock history was born and never forgotten! It started with an accoustic duo Good News, and wasn't able to found any information about it, and after Kris Kristofferson second set, Ralph McTell, Heaven, Free, Donovan, Pentangle, The Moody Blues, Jethro Tull, Jimi Hendrix, Joan Baez, Leonard Cohen and as closing act Richie Havens!I hope you enjoyed travelling

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By the time Monument came to release Kristofferson's second album, The Silver Tongued Devil and I, in July 1971, he was the author of four songs that had topped the country or pop charts for others. Kristofferson himself had not yet reached the charts with a recording of his own, but his spectacular success as a songwriter made The Silver Tongued Devil and I a much-anticipated record. One

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McTell's second album remains most remembered for the first version of "Streets of London," although this acoustic version is different from the mid-'70s re-recording that made it to number two in the British charts. It's a low-key and wistful record, no surprise there, as McTell has never been an in-your-face kind of performer. The tone is predominantly acoustic, with some appropriately

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Heaven, a jazz rock group from Portsmouth, burst forth onto the British rock scene in 1970 when they appeared at the legendary Isle of Wight festival sharing a bill with The Who, The Doors, Jimi Hendrix et al. Making a stunning debut, the band (now managed by festival organiser Rikki Farr), soon secured a recording deal with CBS Records who signed the band for a large advance. The resulting

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-38127201958248025242011-12-26T05:12:00.000-08:002012-01-15T11:24:43.257-08:00

If Fleetwood Mac, Humble Pie, and Foghat were never formed, Free would be considered one of the greatest post-Beatles blues-rock bands to date, and Fire and Water shows why. Conceptually fresh, with a great, roots-oriented, Band-like feel, Free distinguished itself with the public like Black Sabbath and Deep Purple did (in terms of impact, only) in 1970. Free presented itself to the world as a

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-70785875303279892222011-12-26T05:11:00.000-08:002012-01-15T11:24:43.351-08:00

Although it was a disappointing seller and signaled the start of Donovan's commercial decline, Open Road could have been a new beginning for the singer. Stripping down to a Celtic rock format that managed to be hard and direct, yet still folkish, Donovan turned out a series of excellent songs, notably the minor hit "Riki Tiki Tavi," that seemed to show him moving toward a roots-oriented

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Were Pentangle a folk group, a folk-rock group, or something that resists classification? They could hardly be called a rock & roll act; they didn't use electric instruments often, and were built around two virtuoso guitarists, Bert Jansch and John Renbourn, who were already well-established on the folk circuit before the group formed. Yet their hunger for eclectic experimentation fit into

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-23063721372701330952011-12-26T05:06:00.000-08:002012-01-15T11:24:43.540-08:00

The Moody Blues' first real attempt at a harder rock sound still has some psychedelic elements, but they're achieved with an overall leaner studio sound. The group was trying to take stock of itself at this time, and came up with some surprisingly strong, lean numbers (Michael Pinder's Mellotron is surprisingly restrained until the final number, "The Balance"), which also embraced politics

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Benefit was the album on which the Jethro Tull sound solidified around folk music, abandoning blues entirely. Beginning with the opening number, "With You There to Help Me," Anderson adopts his now-familiar, slightly mournful folksinger/sage persona, with a rather sardonic outlook on life and the world; his acoustic guitar carries the melody, joined by Martin Barre's electric instrument for

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Band of Gypsys was the only live recording authorized by Jimi Hendrix before his death. It was recorded and released in order to get Hendrix out from under a contractual obligation that had been hanging over his head for a couple years. Helping him out were longtime friends Billy Cox on bass and Buddy Miles on the drums because the Experience had broken up in June of 1969, following a show in

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-4897801206141229392011-12-26T05:00:00.000-08:002012-01-15T11:24:43.820-08:00

One of the oft-overlooked aspects of Joan Baez's career in the 1960s is that after the first four albums, she never did the same thing twice; what's more, with the possible exception of the Baptism album, she succeeded at least 90 percent of the time in practically everything new that she tried during that decade. One Day at a Time is much closer to 100 percent on target, and was also

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-70661604364591069992011-12-26T04:57:00.000-08:002012-01-15T11:24:43.915-08:00

Songs of Love and Hate is one of Leonard Cohen's most emotionally intense albums -- which, given the nature of Cohen's body of work, is no small statement. While the title Songs of Love and Hate sums up the album's themes accurately enough, it's hardly as simple as that description might lead you to expect -- in these eight songs, "love" encompasses the physical ("Last Year's Man"), the

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-75279836088321289262011-12-26T04:54:00.000-08:002012-01-15T11:24:44.021-08:00

Havens' third Verve album was an ambitious double LP, using about a couple dozen backing musicians in various combinations on instruments ranging from conga and sitar to steel guitar and organ. Though recorded for the most part in the studio, it also included several live recordings from a July 1968 concert. As with many double albums, it perhaps could have used some pruning, although in

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-43096860353114818492011-12-22T04:24:00.000-08:002012-01-15T11:24:44.118-08:00

Although commercially successful, Chicago's previous long-player, Chicago VI (1973), had not been received as warmly from both the critics as well as from some bandmembers. Both parties expressed their dissatisfaction with the lighter fare and significantly shorter material. In response, the combo briefly returned to their previously tried and true methodology on their follow-up album. As

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-42149836857151487272011-12-22T04:21:00.000-08:002012-01-15T11:24:44.212-08:00

Mike Oldfield's groundbreaking album Tubular Bells is arguably the finest conglomeration of off-centered instruments concerted together to form a single unique piece. A variety of instruments are combined to create an excitable multitude of rhythms, tones, pitches, and harmonies that all fuse neatly into each other, resulting in an astounding plethora of music. Oldfield plays all the

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-15015400881824027022011-12-12T13:46:00.000-08:002012-01-15T11:24:44.306-08:00

When he led the Lovin' Spoonful from 1965 to 1967, John Sebastian experimented with a variety of styles, expanding from the folk, jug band, and rock & roll that were the band's basic mixture to include everything from country ("Nashville Cats") to orchestrated movie scoring ("Darling, Be Home Soon"). Freed from the confines of a four-piece band, he stretched further on his debut solo album,

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Shawn Phillips' first major album, recorded in 1968 with help from the members of Traffic, among others, is a condensation of a far more ambitious studio original that was intended to fill three LPs. The range of sounds on this record is shockingly diverse, from breezy folk-rock ("Man Hole Covered Wagon") to pieces incorporating classical guitar and phantasmagoric lyrics ("L Ballade" finds

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Drummer Skip Prokop formed Lighthouse in 1968 and began adding members soon after: guitarist Ralph Cole (whom Prokop had played with in the Paupers), Grant Fullerton, Pinky Dauvin, saxophonist Howard Shore, cellist Dick Armin, violinist Don DiNovo, keyboard player Paul Hoffert, saxophonist Keith Jollimore, vocalist Bob McBride, trumpeter Peter Pantaluk, trombonist Larry Smith and bassist Louis

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This wonderfully varied release shows a number of new tendencies in Joni Mitchell's work, some of which would come to fuller fruition on subsequent albums. "The Arrangement," "Rainy Night House," and "Woodstock" contain lengthy instrumental sections, presaging the extensive non-vocal stretches in later selections such as "Down to You" from Court and Spark. Jazz elements are noticeable in the

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Tiny Tim's 15 minutes of fame were starting to run out when Tiny Tim's Second Album was released in November 1968, and it sold only a fraction of what God Bless Tiny Tim moved a mere ten months earlier. But while the novelty of Tiny Tim's act may have worn off for the average record buyer, Tiny Tim's Second Album is hardly a disappointment from a creative standpoint; as he did on Tim's first LP,

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Thought by many to be among the most revolutionary albums in jazz history, Miles Davis' Bitches Brew solidified the genre known as jazz-rock fusion. The original double LP included only six cuts and featured up to 12 musicians at any given time, some of whom were already established while others would become high-profile players later, Joe Zawinul, Wayne Shorter, Airto, John McLaughlin, Chick

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Watt had many of the same ingredients as its predecessor, Cricklewood Green, but wasn't nearly as well thought out. The band had obviously spent much time on the road, leaving little time for developing new material. Consequently, a cover of Chuck Berry's "Sweet Little Sixteen," recorded live at the Isle of Wight Festival, is included here, as is a short instrumental with the uninspired

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Lively, ambitious, almost entirely successful debut album, made up of keyboard-dominated instrumentals ("The Barbarian," "Three Fates") and romantic ballads ("Lucky Man") showcasing all three members' very daunting talents. This album, which reached the Top 20 in America and got to number four in England, showcased the group at its least pretentious and most musicianly -- with the exception

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The Doors returned to crunching, straightforward hard rock on Morrison Hotel, an album that, despite yielding no major hit singles, returned them to critical favor with hip listeners. An increasingly bluesy flavor began to color the songwriting and arrangements, especially on the party'n'booze anthem "Roadhouse Blues." Airy mysticism was still present on "Waiting for the Sun," "Queen of the

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Stand! is the pinnacle of Sly & the Family Stone's early work, a record that represents a culmination of the group's musical vision and accomplishment. Life hinted at this record's boundless enthusiasm and blurred stylistic boundaries, yet everything simply gels here, resulting in no separation between the astounding funk, effervescent irresistible melodies, psychedelicized guitars, and deep

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1970s Candles in the Rain was Melanie Safka's third album, but while her first two LPs found her trying to make a coherent whole out of her grab bag of influences and ideas, this was where she seemed to truly hit the mark for the first time. "Lay Down (Candles in the Rain)" was that rarity, a hit single that truly presented an eclectic artist in her best light -- the Woodstock rock festival

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One more time, I revisited the famous Festival, and we have John B. Sebastian that open the day, after Shawn Philips, Lighthouse (their 2nd set), Joni Mitchell, Tiny Tim, Miles Davis, Ten Years After, Emerson, Lake & Palmer, The Doors, The Who, Sly & The Family Stone and Melanie!Enjoy!

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From Home to Home is quite similar to the albums this group had put out in the late '60s as the Kaleidoscope (the British Kaleidoscope, not to be confused with the American band of the same name). In fact, it's similar enough to the Kaleidoscope records to make one wonder why they bothered to change their name. Perhaps there is more polish and sophistication in the production, and a slightly

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Arrival was a seven-member group from Liverpool formed in the late '60s. Members were Dyan Birch, Paddy McHugh, Frank Collins, Carroll Carter (vocals), Lloyd Courtney, Don Hume, and Tony O'Malley. They had two U.K. hits in 1970: "Friends" (number eight) and "I Will Survive" (number 16). Birch, Collins, McHugh and O'Malley later formed Kokomo.New link! Thanks PJ!listen here

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Lighthouse was formed in 1968 in Toronto, Ontario, Canada by drummer–vocalist Skip Prokop, formerly with the Paupers, and keyboardist–arranger Paul Hoffert. The two met in New York City and discussed forming a band structured around a rock rhythm section, jazz horn section and classical string section when they coincidentally found themselves on the same flight back to Toronto. Prokop had admired

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The second and final studio recording by Irish guitarist Rory Gallagher's neo-Cream trio reins in the playing to focus more on songwriting. The material is a virtual grab bag of blues-rock styles, moving from driving rockers ("What's Going On," "I'll Remember") and basic boogies ("Morning Sun," "If I Don't Sing I'll Cry") to a bottleneck blitz ("Eat My Words") and a pair of acoustic ballads.

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When "Polk Salad Annie" blared from transistor radio speakers in the summer of 1969, the first thought was of Creedence Clearwater Revival, for Tony Joe White's swamp rock bore more than a passing resemblance to the sound John Fogerty whipped up on Bayou Country and Green River. But White was the real thing -- he really was from the bayou country of Louisiana, while Fogerty's bayou country was

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Few debut albums can boast as consistently solid an effort as the self-titled Chicago Transit Authority (1969). Even fewer can claim to have enough material to fill out a double-disc affair. Although this long- player was ultimately the septet's first national exposure, the group was far from the proverbial "overnight sensation." Under the guise of the Big Thing, the group soon to be known

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Twenty seven years after the fact, this might well be the best of the early Family recordings. A combination of hard rock (bordering on metal) and wistful folk-rock (it sounds as if Chapman and Whitney were listening to a lot of Incredible String Band), A Song for Me veers toward early progressive rock, but isn't as nakedly indulgent as some early prog-rock recordings (e.g., they didn't try to

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The group's hardest-rocking classic album is, beyond some superb vocalizing by Gary Brooker, principally a showcase for Robin Trower's high-powered guitar and a rock-hard rhythm section, with B.J. Wilson only a little less animated than Ginger Baker on some of the music. Procol Harum had a split personality by this time, the band juxtaposing straight-ahead rock & roll numbers like "Still

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An often stirring 20-member ensemble whose music was better suited for devotional and inspirational material than commercial R&B or soul, the Voices of East Harlem included lead vocalists Gerri Griffin and Monica Burress. Producers Leroy Hutson and Curtis Mayfield worked with the group, whose ages ranged from 12 to 21, and cut some material on the Just Sunshine label that didn't generate any

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Cactus may have never amounted to anything more than a half-hearted, last-minute improvised supergroup, but that don't mean their eponymous 1970 debut didn't rock like a mofo. The already quasi-legendary Vanilla Fudge rhythm section of Bogert and Appice may have provided the backbone of the band's business cards, and soulful, ex-Amboy Duke Rusty Day brought the voice, but it was arguably

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The title-track is still one of the most beguiling (if casually sexist) hits of its era, but the other 14 songs are even more interesting: Jesse Fuller-influenced jug band ("San Francisco Bay Blues," "See Me") and Tampa Red-style kazoo blues ("Maggie"), as well as the influence of Piano Red ("Mighty Man") and credible instrumental blues-rock ("Mother Fucker Boogie"). The hit "Johnny B. Badde"

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Now we have an amazing performance's pack! Fairfield Parlour, Arrival, Lightouse, Taste, Tony Joe White, Chicago Transit Authority, Family, Procol Harum, The Voices of East Harlem, Cactus and Mungo Jerry!And once again the goal is enjoy!

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Preservation is Ray Davies' most ambitious project -- a musical that used the quaint, small-town nostalgia of Village Green as a template to draw the entirety of society and how it works. Or, at least that's what the concept seems to be, since the storyline was so convoluted, it necessitated three separate LPs, spread over two albums, and it still didn't really make sense because the first

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Although New York Tendaberry was nearly as strong a record as its predecessor, Eli and the Thirteenth Confession, it wasn't as accessible. In large part that's because, unlike her first two albums, it didn't have three or four songs that would become instantly recognizable hits in the hands of other artists. But it was also because the mood of the record was considerably darker and the

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The Rill Thing represented Little Richard's most serious attempt at a comeback since his 1950s heyday. "Freedom Blues," Richard's debut Reprise single, released in April 1970, was a mid-chart hit, his first in five years. "Greenwood Mississippi," released as a single concurrently with the album, also charted. Richard adopted a Cajun/country-rock approach (even covering "Lovesick Blues"),

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Ray Davies released the "song" songs from Preservation -- the character sketches, the wry observations, the lovely ballads -- on the first record (or "Act") of the musical drama, leaving the narrative for Preservation, Act 2, a double album released six months after its companion. Simply put, the record is a mess, an impenetrable jumble of story, theater, instrumentals, "announcements,"

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After the platinum success of 1977's French Kiss, Fleetwood Mac alumnus Bob Welch obviously decided there was no need to alter the formula for 1979's Three Hearts. The album was another slick, smartly crafted slice of late-'70s pop/rock, yet it only went gold. Welch blends richly distorted hard-rock guitar hooks, disco-influenced strings, and bright vocal melodies on Three Hearts, which includes

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Best remembered for the smash "Groove Me," New Orleans soul singer King Floyd was born in the Crescent City on February 13, 1945, and raised in nearby Kenner, LA. He began singing on street corners while in his early teens, befriending local musicians like Earl King and Willie Tee. With the aid of New Orleans blues legend Mr. Google Eyes, Floyd landed his first paying gig at the Bourbon

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Fleetwood Mac's debut LP was a highlight of the late-'60s British blues boom. Green's always inspired playing, the capable (if erratic) songwriting, and the general panache of the band as a whole placed them leagues above the overcrowded field. Elmore James is a big influence on this set, particularly on the tunes fronted by Jeremy Spencer ("Shake Your Moneymaker," "Got to Move"). Spencer's

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One look at the doleful expression that Caetano Veloso wears on the cover of his third self-titled album, from 1971, and it's clear that the listener is in for a bummer. It's a dead-eyed look that says, "Friend, sit down, have a drink, and listen to my weary tale." And a weary homesick tale it is, for the man who only a few years earlier had been one of the catalysts in a revolution that

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Ahmed Abdul-Malik was one of the first musicians to integrate non-Western musical elements into jazz. In addition to being a hard bop bassist of some distinction, he also played the oud, a double-stringed, unfretted Middle Eastern lute, played with a plectrum. Abdul-Malik recorded on the instrument in the '50s with Johnny Griffin and in 1961 with John Coltrane, contributing to one of the

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Although it made number ten in the U.K., Fleetwood Mac's second album was a disappointment following their promising debut. So much of the record was routine blues that it could even be said that it represented something of a regression from the first LP, despite the enlistment of a horn section and pianist Christine Perfect (the future Christine McVie) to help on the sessions. In particular,

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Although this album (reissued on CD) proudly states that it is by the Gil Evans Orchestra and has Evans' picture on the cover, the arranger actually had nothing to do with the music. Three songs have the nucleus of his big band performing numbers composed, arranged, and conducted by John Carisi (who also plays one of the trumpets). Those selections by the composer of "Israel" are

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As on Caetano Veloso's album from the same year, Gilberto Gil does not sound happy away from his homeland. Recorded in London, the eight songs on his final self-titled album are mostly blues and introspective, downbeat pop songs. Steve Winwood's "Can't Find My Way Home" is an inspired choice, delivered with a crushing sentimentality rarely found in other versions. Gil also reprises "Volks,

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This Peter Green-led edition of the Mac isn't just an important transition between their initial blues-based incarnation and the mega-pop band they became, it's also their most vital, exciting version. The addition of Danny Kirwan as second guitarist and songwriter foreshadows not only the soft-rock terrain of "Bare Trees" and "Kiln House" with Christine Perfect-McVie, but also predicts

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Walter Bishop, Jr. was a valuable utility pianist on many a modern jazz session during the bebop era, remaining an active performer until his death at the age of 70 in early 1998. The son of composer Walter Bishop, Sr., he grew up in Harlem's Sugar Hill area, and as a teen counted among his friends Sonny Rollins, Kenny Drew, and Art Taylor; acknowledging Art Tatum, Bud Powell, and Nat King

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As a lead instrument in jazz, the acoustic bass was in many ways liberated by Paul Chambers, and paved the way for many others to follow. Though Pops Foster, Jimmy Blanton and Ray Brown also deserve credit, Chambers was allowed to put his bass on top, become a leader in his own right, and play lead melodies with a clear, ringing, well enunciated tone. 1st Bassman is anchored by rising stars

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Although Gary Farr had started his recording career as a part of the mid-'60s British R&B wave, by the time he did his first full-length album, he was heavily influenced by folk and progressive rock. Members of late-'60s British progressive cult bands Blossom Toes and Mighty Baby, in fact, help out on Take Something with You, which sometimes has a pastoral rock-jazz-folk-blues feel à la

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Progressive in texture for the most part, Supertramp's debut album became increasingly disregarded as they blossomed commercially through the '70s. The album was the only one on which drummer Bob Miller and guitarist Richard Palmer appeared, replaced by Kevin Currie and Frank Farrell for the Indelibly Stamped release which surfaced a year later. Quite a bit different than their radio and AOR

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In the early '70s, the Ampex label was marketing the work of Andy Roberts in a most confusing and somewhat misleading way. When they issued his early-'70s LP Home Grown, it actually combined tracks from two previous editions of the album with others that appeared on his second proper solo record, Nina and the Dream Tree. And although Andy Roberts With Everyone was simply credited as a

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Frankie Miller had a group Howl with who he performed in the Isle of Wight in 1970, Howl was scottish hard-rock band formerly known as "The Stoics", they didn't record any album during their short live. Here is the first Frankie Miller's first solo album. This first album features pub-rock favorites Brinsley Schwarz as his backup band. That alone is reason enough to own this record. Add to

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-22968119256232243102011-11-22T13:43:00.000-08:002012-01-15T11:24:48.319-08:00

Black Widow may have enjoyed a reasonably long and defiantly varied career. But to anyone who cares, they will be remembered for just one song, "Come to the Sabbat" -- not a hit single, but a standout on a cheapo label compilation in the early '70s, and destined to live on for decades after the band. Naturally, the accompanying Sacrifice album has bounced along in its wake, first as an

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-62409238688047944562011-11-22T13:41:00.000-08:002012-01-15T11:24:48.412-08:00

Recorded during June of 1969 at Marquee Studios in London with Gary Collins and Colin Caldwell engineering, the trio of Groundhogs put the blues to rest on Blues Obituary in front of a castle on the Hogart-designed cover while six black and whites from photographer Zorin Matic grace the back in morbid Creepy or Eerie Magazine comic book fashion. Composed, written, and arranged by Tony "T.S."

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-49699326620717769752011-11-22T13:39:00.000-08:002012-01-15T11:24:48.501-08:00

Reid's initial pair of albums are very similar, and it's really a toss-up as to which one is better. If either rates a slight edge, it would be Terry Reid, as it finds his songwriting skills slightly more developed. The Donovan influence is again apparent on the cover of the Scotsman's "Superlungs My Supergirl," and "Stay with Me Baby" is another well-done blue-eyed soul showcase. As a

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-41782518466958535202011-11-22T13:38:00.000-08:002012-01-15T11:24:48.593-08:00

It's not only ironic that the record with Gilberto Gil's first major hit ("Aquele Abraço") is also his most experimental album; it also speaks to the diversity of Brazil's emerging pop superstar. Beginning with the loose-jointed groove-pop of "Cérebro Eletrónico" (the album's subtitle), this second of three straight self-titled LPs includes a few Carnival-styled pop songs, as on his previous

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-68078929715137749112011-11-22T13:33:00.000-08:002012-01-15T11:24:48.688-08:00

This second Caetano Veloso solo LP was recorded in June 1969, when Veloso and Gilberto Gil were behind the bars of the military dictatorship. The albums (Gil also recorded his own) were devised in part to provide them with a connection to the outside world through which authorities would be discouraged of attempting some violence against them. The voices were unsophisticatedly recorded with

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-70149916315780130612011-11-22T13:22:00.000-08:002012-01-15T11:24:48.781-08:00

Here I'm back with the festival second day's performances. Gary Farr, Supertramp, Andy Roberts with Everyone, Frankie Miller's Howl, Black Widow, Groundhogs, Terry Reid, Gilberto Gil and Caetano Veloso. It's a fine warm up before the three festival big days.Enjoy!

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-62967380994500680462011-11-22T12:34:00.000-08:002012-01-15T11:24:48.873-08:00

Folsom Prison looms large in Johnny Cash's legacy, providing the setting for perhaps his definitive song and the location for his definitive album, At Folsom Prison. The ideal blend of mythmaking and gritty reality, At Folsom Prison is the moment when Cash turned into the towering Man in Black, a haunted troubadour singing songs of crime, conflicted conscience, and jail. Surely, this dark

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-7179829220576209042011-11-22T12:32:00.000-08:002012-01-15T11:24:48.975-08:00

After the clatter of their first album failed to bring them a wide audience, the New York Dolls hired producer Shadow Morton to work on the follow-up, Too Much Too Soon. The differences are apparent right from the start of the ferocious opener, "Babylon." Not only are the guitars cleaner, but the mix is dominated by waves of studio sound effects and female backing vocals. Ironically, instead

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-28304626260908624762011-11-22T12:28:00.000-08:002012-01-15T11:24:49.064-08:00

Redbone was a Los Angeles-based group led by Native American Pat and Lolly Vegas. They hit paydirt in 1974 with the million-seller "Come and Get Your Love." Lead singers Pat and Lolly Vegas had previously worked under their own names, appearing in the 1965 film It's a Bikini World prior to forming Redbone. Their first success as Redbone came in 1970 with "Maggie" on Epic. "The Witch Queen of New

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-31572191072293529212011-11-22T12:26:00.000-08:002012-01-15T11:24:49.154-08:00

Joni Mitchell reached her commercial high point with Court and Spark, a remarkably deft fusion of folk, pop, and jazz which stands as her best-selling work to date. While as unified and insightful as Blue, the album -- a concept record exploring the roles of honesty and trust in relationships, romantic and otherwise -- moves away from confessional songwriting into evocative character studies

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-47864399265099154582011-11-22T12:23:00.000-08:002012-01-15T11:24:49.265-08:00

Before '70s superstardom, even before Humble Pie, Peter Frampton got his first taste of celebrity as a singer and guitarist in the Herd, who chalked up several hits in Britain in 1967 and 1968. Frampton was only 17 when the single "From the Underworld" went into the British Top Ten in late 1967; "Paradise Lost" and "I Don't Want Our Loving to Die" were hits for the group in the first half of

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-91072692565138733532011-11-22T12:19:00.000-08:002012-01-15T11:24:49.363-08:00

This is a reissue of Bromberg's 1974 album. Backing musicians include several members of The Grateful Dead as well as Andy Statman on mandolin and tenor sax. Some of Bromberg's strongest and best-loved material can be found here, including "The Holdup," "Danger Man," "Send Me to the 'Lectric Chair," "The New Lee Highway Blues," and Bob Dylan's "Wallflower." AMG.listen here

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-52667804329952797952011-11-19T11:32:00.000-08:002012-01-15T11:24:49.454-08:00

Judas Jump was a heavy progressive rock band, with lots of Mellotron, flutes, and sax in their sound and who had the distinction of inaugurating Parlophone Records' new numbering sequence with their first (and only) album, Scorch, as PAS 10001. Their members made them a kind of U.K.-level super-group with guitarist/keyboardman Andy Bown and drummer Henry Spinetti having come from the Herd and

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-13805677828790886722011-11-19T11:30:00.000-08:002012-01-15T11:24:49.548-08:00

Originally released in 1970 on the miniscule Stormy Forrest label, Kathy Smith's Some Songs I've Saved is no lost treasure on the level of, say, Linda Perhacs' Parallelograms, no matter how much obscurantist collectors may want it to be. Stormy Forrest was Richie Havens' label, and Havens' signature blend of folk and jazz influences is all over this album musically, with flutes and upright bass

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0tag:blogger.com,1999:blog-4506520067129127794.post-28219221914774122011-11-19T11:28:00.000-08:002012-01-15T11:24:49.648-08:00

Rosalie Sorrels is a collector and performer of traditional American folk songs, but in all her music, traditional and original, there is a deeply personal vein. Sorrels' music is about loss and survival. When she was 16, she had an illegal abortion; when she was 17, she gave up a child for adoption. She married and had five children, left her husband, and struggled to raise her family

Amelia Swhizzagershttp://www.blogger.com/profile/14898632957421026035noreply@blogger.com0