1. Introduction by MC Perry Jones :21
2. Africano/Power 5:56
3. Yearnin' Learnin' 4:16
4. Devotion 5:07
5. Sun Goddess 7:41
6. Reasons 8:23
7. Sing a Message to You 1:19
8. Shining Star 4:55
9. New World Symphony 9:28
10. Musical Interlude #1 :15
11. Sunshine 4:16
12. Sing a Song 3:23
13. Gratitude 3:27
14. Celebrate 3:06
15. Musical Interlude #2 :27
16. Can't Hide Love 4:10
17. Live Bonus Medley: Serpentine Fire/Saturday Nite/Can't Hide ... 6:13

Maurice White - Timbales, Vocals, Kalimba
Verdine White - Bass, Percussion, Vocals
Philip Bailey - Percussion, Conga, Vocals
Larry Dunn - Organ, Piano, Moog Synthesizer
Ralph Johnson - Percussion, Drums
Al McKay - Guitar, Percussion
Johnny Graham - Guitar
Andrew Woolfolk - Percussion, Saxophone
Fred White - Percussion, Drums
+
Don Myrick - Saxophone
Louis Satterfield - Trombone
Michael Harris - Trumpet

AMG:
"With That's the Way of the World having made Earth, Wind & Fire one of the best-selling soul bands of the 1970s, Maurice White and co. had no problem filling large arenas. As dynamic as EWF was on-stage, it's a shame that there isn't more documentation of the band's live show. Only one live EWF album was released by a major label in America, the superb Gratitude. First a two-LP set and later reissued on CD, Gratitude brilliantly captures the excitement EWF generated on-stage at its creative peak. Neither hardcore EWF devotees nor more casual listeners should deprive themselves of the joys of the live versions of "Shining Star" and "Yearnin' Learnin'." Maurice White is magnificent throughout, and Philip Bailey truly soars on extended versions of "Reasons" (which boasts a memorable alto sax solo by guest Don Myrick) and "Devotion." The album also introduced some excellent new studio songs, including the haunting "Can't Hide Love" and the uplifting "Sing a Song." One could nitpick and wish for live versions of "Evil," "Keep Your Head to the Sky," and "Kalimba Song," but the bottom line is that Gratitude is one of EWF's finest accomplishments."

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1. El Limpiabotas 3:04
2. Negra Leono 2:55
3. Ariñanara-Nague 2:39
4. Zarabanda 2:26
5. Los Componedores 2:19
6. Quimbamba 2:48
7. No, Negrita, No 2:44
8. Tambó 2:01
9. Guguanco Africano 2:21
10. Se Acabo la Fiesta 2:20

Miguelito Valdés - Percussion, Conga, Vocals
Seldon Powell - Flute, Sax (Tenor)
Lennie Habro - Sax (Alto)
Victor Paz - Trumpet
Bernie Glow - Trumpet
Frank Anderson - Organ
Sonny Bravo - Piano
Chano Pozo - Bongos
Chico O'Farrill - Conductor, Arranger

AMG:
"During more than five decades of performing, the vocal innovations of Miguelito Valdes made him one of Latin music's most popular artists. He started singing in 1927 with a few amateur groups, then decided music was his career while in Panama during the early '30s. In June 1937, Valdes was the vocalist for the corporation Casino de la Playa Orchestra, which was among Cuba's five most popular orchestras. He left Cuba for New York City in April 1940, and joined the Xavier Cugat band at the Waldorf Astoria hotel. The spot earned him a lot of fame, enough so that he could start his solo career in 1942. He recorded for several labels, was seen in 12 movie cameo roles, and went into semi-retirement in 1955. He came back in 1963, and hosted a television show for ten years. In 1978, Miguelito Valdes died on stage of a heart attack in Bogota, Columbia."

( Read more... )

1. White Bird 6:12
2. A Hot Summer Day 5:51
3. Wasted Union Blues 4:09
4. Girl With No Eyes 3:51
5. Bombay Calling 4:29
6. Bulgaria 6:14
7. Time Is 9:38

8. Don and Dewey (5:16)
9. The Dolphins (4:30)
10. Essence of Now (3:20)
11. Hoedown (2:29)
12. Soapstone Mountain (4:20)
13. Waiting for the Song (1:03)
14. Let a Woman Flow (4:04)
15. It Comes Right Down to You (3:14)
16. Good Lovin' (3:59)
17. Galileo (3:02)
18. Do You Remember the Sun? (3:14)

Pattie Santos - tambourine, bells, block, gourd, vocals
David LaFlamme - violin, vocals
Linda LaFlamme - organ, piano, celeste, harpsichord (1-7)
Fred Webb - french horn, keyboards, vocals (8-18)
Hal Wagenet - guitar
Mitchell Holman - bass
Val Fuentes - drums
+
Bruce Steinberg - harmonica (2)
Richard Olsen - clarinet
Jerry Garcia - banjo (11), pedal steel (15)

AMG:
"San Francisco psychedelic folk-rock unit It's a Beautiful Day was primarily the vehicle of virtuoso violinist David LaFlamme, born April 5, 1941 in New Britain, CT but raised in Salt Lake City, UT. After beginning his musical education at age five, LaFlamme later served as a soloist with the Utah Symphony, following an army stint by settling in the Bay Area in 1962. There he immersed himself in the local underground music scene, jamming alongside the likes of Jerry Garcia and Janis Joplin; after his short-lived Electric Chamber Orchestra splintered, LaFlamme also co-founded an early incarnation of Dan Hicks & His Hot Licks before assembling It's a Beautiful Day in mid-1967. The group -- which originally included LaFlamme's keyboardist wife Linda, vocalist Pattie Santos, guitarist Hal Wagenet, bassist Mitchell Holman, and drummer Val Fuentes -- issued its self-titled debut LP on Columbia in 1969, scoring their biggest hit with the haunting FM radio staple "White Bird." Linda LaFlamme left It's a Beautiful Day soon after, going on to form Titus' Mother; keyboardist Fred Webb signed on for the follow-up, 1970's Marrying Maiden, while Holman exited prior to 1971's Choice Quality Stuff, recorded with new guitarist Bill Gregory and bassist Tom Fowler. In 1973, ongoing disputes over royalties forced LaFlamme out of the group he created, and upon installing new violinist Greg Bloch, the remaining members issued It's a Beautiful Day...Today before dissolving in the wake of 1974's 1001 Nights. LaFlamme mounted a solo career in 1977 with White Bird, continuing his protracted legal tussle with ex-manager Matthew Katz for years to follow; sadly, Pattie Santos died in a December 14, 1989 auto accident."

( Read more... )

1. On the Cusp 6:20
2. You Make Me Dance 6:05
3. Lock It in the Pocket 7:10
4. Days in Our Lives/Mr. Magic 20:30
5. Summer Song 7:40
6. Juffure 9:40
7. Sausalito 10:15
8. Funkfoot 8:45

Grover Washington, Jr. - Sax (Alto), Sax (Soprano), Sax (Tenor)
John Blake - Violin (Electric)
Tyrone Brown - Bass
Leslie Burrs - Flute
Leonard Gibbs - Percussion
Sid Simmons - Keyboards
Richard Steacker - Guitar
Millard Vinson - Drums
Creed Taylor - Producer

AMG:
"Grover Washington, Jr. always put on exciting shows, and this performance from the Bijou Cafe in Philadelphia is a good example of his repertoire in 1977. It does not reach the heights of his best studio recordings or concerts, but there are some fine moments. Utilizing his octet of the time (with violinist John Blake, keyboardist James Simmons, and flutist Leslie Burrs), this CD (a straight reissue of the original LP) mostly features Washington playing lesser-known tunes that would not stay in his repertoire for long (other than a medley that includes "Mr. Magic"), but Washington (heard on tenor, alto, and soprano) consistently uplifts the material."

( Read more... )

1. Dancing Disco
2. Chanson de Maggie
3. Quand on Est Enfant
4. Le Meilleur de Soi-Meme
5. Une Nuit a Paris
6. Musique
7. Ce Garcon Que Danse
8. Si, Maman, Si

France Gall - Vocals
Michel Berger - Piano
Gilbert Roussel - Accordion
Pascal Arroyo - Bass
Christian Padovan - Bass
Francis Cournet - Clarinet
Simon Philips - Drums
André Tchecarelli - Drums
André Sitbon - Drums
Georges Rodi - Electric Piano
Marc Peru - Guitar
Alan Parker - Guitar
Denis Lable - Guitar
Gerard Kawczynski - Guitar
Marc Chantereau - Percussion
Ray Cooper - Percussion
Claude Germain - Strings Director
Johanner Stone , Michel & Georges Costa , Sue And Sunny - Choir

AMG:
"Although she's best-known as the pretty, perky teenager who won the 1965 Eurovision Song Contest with her hit "Poupee de Cire, Poupee de Son," French pop singer France Gall has had a much longer and more varied career than that, having released solid records almost non-stop since the early '60s. Although only a cult figure in most of the rest of the world, Gall is a major star and beloved figure in her native country.

Born Isabelle Gall in Paris on October 9, 1947, Gall was the daughter of French performer and producer, Roger Gall, who had written songs for Edith Piaf and Charles Aznavour. In 1962, at the age of 15, Gall was ushered into the studio by her father to record her debut EP, Ne Sois pas Si Bete. The four-track EP (the standard in French pop music at the time, and the format of most of her releases for the rest of the decade) was an enormous hit, selling 200,000 copies in France thanks both to the irresistible title-track and the absolutely stunning cover photo. Gall released a series of similarly successful pop hits for the next several years, peaking with winning the aforementioned Eurovision Song Contest in 1965. But although many dismissed Gall as a Francophone Lesley Gore, making fluffy and ultra-commercial pop hits with little substance, Gall's hits from this era stand up far better than most. Only Francoise Hardy was consistently making records up to these standards during this era. Though Gall's high, breathy voice was admittedly somewhat limited, she made the most of it. Even dopey hits like "Sacre Charlemagne," a duet with a pair of puppets who were the stars of a children's show on French TV, have an infectious, zesty charm; meatier tunes, like the sultry jazz-tinged ballad "Pense a Moi" and the brilliant rocker "Laisse Tomber les Filles," were as good as any single produced in the U.S. or Great Britain at the time.

In 1966, Gall's public persona shifted into a more mature phase, both musically and personally. The change came with that year's controversial hit "Les Sucettes." Though on the surface the Gainsbourg-penned tune was a pretty little song about a young girl and her lollipop, the unmistakable subtext of the sly lyrics meant that the not-yet-18-year-old Gall was singing approvingly (and, she later claimed, completely unknowingly) about oral sex. Les Sucettes and its follow-up, Baby Pop, are among Gall's finest, musically richer and more varied than her early hits, but every bit as catchy. (During this period of her career, Gall was signed not only to the French division of Philips, but to the German branch of the company, and also released several German-language EPs and albums, mixing translations of her Francophone hits and all-new material.) The psychedelic era found Gall, under Gainsbourg's guidance, singing increasingly strange songs, like "Teenie Weenie Boppie" (a bizarre tune about a deadly LSD trip that somehow involves Mick Jagger) set to some of Gainsbourg's most out-there arrangements. The excellent 1968 is Gall's best album from this period, with "Teenie Weenie Boppie," the trippy "Nefertiti," and the slinky, jazzy "Bebe Requin," perhaps Gall's sexiest single ever.

Like all of the stars of the '60s ye-ye scene, Gall's career took a downturn in the early '70s. No longer a teenager, but without a new persona to redefine herself with, (and without the help of Gainsbourg, whose time was taken by his own albums and those of his wife Jane Birkin), Gall floundered both commercially and artistically. A label change from Philips to BASF in 1972 didn't help matters, but in 1974, Gall met and married songwriter/producer Michel Berger. Berger took over his wife's career starting with 1975's France Gall and re-established her popularity throughout Europe. Berger's middle of the road soft rock style (think late-era Elton John, with whom Gall recorded a duet, "Les Aveux," in 1980) is slickly commercial and for the most part, less-inspired than Gall's '60s work, but although her material was by and large weaker, Gall became a much stronger and more technically adept singer during this era. Albums like 1987's Babacar, 1984's Debranche, and 1988's live Tour de France cannot be recommended to those completely averse to mellow "lite" rock, but they have their charms.

Gall's life took a tragic turn in the '90s; Berger died of a heart attack at the age of 46 in 1992, and their daughter Pauline died of cystic fibrosis at the age of 19 in 1997. Gall announced her retirement after Berger's death, but after reconsidering, she restarted her career with 1996's France, a tender tribute to her partner and mentor. That same year, a new generation of listeners began discovering her work when Heavenly covered her Serge Gainsbourg-penned hit "Nous ne Sommes pas des Anges" on Operation: Heavenly."

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1. Sanpaku 4:10
2. When It's Over 3:03
3. Living on the Outside 5:36
4. Hideaway 4:09
5. Jardin Botanico 3:32
6. Underneath the Apple Tree 5:52
7. Tiger in the Rain 4:17
8. Satisfaction Guaranteed 3:39
9. Lifeline 6:10

Michael Franks - Vocals, Guitar
David Liebman - Flute
David Sanborn - Sax (Alto)
Lew Soloff - Piccolo Trumpet
Randy Brecker - Horn
Mike Mainieri - Vibraphone
Bucky Pizzarelli - Guitar
Kenny Barron - Piano
Ron Carter - Bass
Flora Purim - Vocals (bckgr)
and others

AMG:
"Strangely enough, Tiger in the Rain would have been a smoother transition from Sleeping Gypsy, just as Burchfield Nines would have been a more natural follow-up to The Art of Tea. For the first time, Michael Franks made an album completely without the production team of Tommy LiPuma, Al Schmitt and Lee Hershberg, employing instead John Simon (the Band, Janis Joplin, Leonard Cohen). The recording boasts a large number of celebrated horn and string players, as well as jazz luminaries Ron Carter, Bucky Pizzarelli, Kenny Barron, Mike Mainieri and Flora Purim. Lush, romantic and more experimental than previous efforts, Tiger in the Rain has a seriousness of purpose that faithfully echoes that of Sleeping Gypsy, with less of a Brazilian feel and overall a more somber tone of lost love. While none of its songs has the instant appeal of some of his earlier writing, the album as a whole is as refreshing and meditative as a stroll through a rain forest."

( Read more... )

1. Mr. L'Indien2
2. Emiliano
3. 'Laissez-ns vs embrasser où vs
4. Black Spagetti
5. Le Cirque
6. Mama Vagina
7. Sterelization
8. Les grand silencieux
9. Down the Drain
10. L'Hotel Dieu
11. Les bottes de Ste-Tite

progquebec.com:
"Raôul Duguay is so ingrained in Québec's collective consciousness (thanks to his hit "La Bittt à Tibi" ensuring his celebrity), that it would be easy to ignore that he wasn't the sole poet to wander into recorded rock music territory. Claude Péloquin stepped onto the scene about the same time as Duguay (namely, quite early in the 1960's) and wasted no time in provoking, self-publishing his first book in 1963. Péloquin was present for the birth of the multidimensional spectacle in the mid-'60s, as co-founder first of L'Horloge du nouvel âge in 1964, followed by Le Zirmate in 1965. Poetry, dance, slide projections, electronic music, and other forms of presentation would combine to create a whole new entity that would even be showcased during Expo '67. If "La Bittt à Tibi" would be Duguay's best-known song, Péloquin would write the words for the classic "Lindberg" (even though this one is associated with the man who penned its melody, and who also first performed the tune: Robert Charlebois).

1972 sees his poetry (and his voice) recorded onto vinyl, when Polydor releases "Laissez-nous vous embrassez où vous avez mal", credited to Péloquin Sauvageau. Péloquin's shadow looms so largely as to often hide the other half responsible for Québec's first (almost) entirely electronic album. Jean Sauvageau, previously a drummer and student of Stackhausen, devotes himself to electronic music near the end of the 1950's with the invention of his first synthesizers. Amongst these is La Machine à Sauvageau ("Sauvageau's machine"), which earned him visits from a fascinated Robert Moog (inventor of the Moog synthesizer), as well as members of British progressive rock group Pink Floyd. Also a member of L'Horloge du nouvel âge and Le Zirmate, Sauvageau would record several electronic works for Expo '67's pavilions.

The album itself provokes as much from its sonic content as from its text: the words to "Mama Vagina" are little more than a repetitive string of toilet talk spit out in a loud, manical frenzy, accompanied by a roughshod fiddle tune and EQ-filtered electronics "bloops", all interacting to the point of hilarity. On the other hand, "Monsieur l'Indien" is a polite, sober and somber look at opportunism against an aboriginal family, spoken to the beat of a simple and repetitive tune almost krautrock in nature. These two tracks stood out most upon the album's arrival, the latter even in France. The album is re-released in 1977 with the modified title of "Monsieur l'Indien" (now simply credited to Claude Péloquin), and once more in its original form on CD in 2004 (with two bonus tracks taken from a 7-inch single from the same era as that of the album's original release).

Following a live album with the group Kinchamali ("Pélo Krispé", 1973), Péloquin would return to the progressive scene as member of the duo Éternité, with Michel LeFrançois. (As is the case with Péloquin Sauvageau's album, these albums are often credited solely to Péloquin, even in the liner notes accompanying the CD reissue of "Laissez-nous vous embrasser où vous avez mal"!) Following this sole project between the two, Sauvageau would dedicate himself to recording electronic music, as well as composing for commercial ads and CD-ROMs."

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1. I Can Tell the World 01:42
2. In His Care-o 03:05
3. Ain` a that Good News! 01:31
4. Joshua Fit the Battle of Jericho 01:37
5. Little innocent Lamb 02:16
6. Oh, Freedom! 03:25
7. Were you there when they crucified my Lord 02:52
8. Ride the Chariot 02:17
9. Let Me Fly 02:37
10. I Wish 04:19
11. One Note Samba 02:23
12. Somewhere Over the Rainbow 04:09
13. Try to Remember 03:34
14. Satin Doll 01:32
15. Java Jive 02:28
16. Lullaby of Birdland 03:35
17. Tuxedo Junction 03:26

Jörg-St.Duit - Bariton
John Winbigler - Bass
Stephanie Prewitt - Alt
Pamela Mildenhall - Soprano
Thomas Schaller - Bariton
James Curry - Tenor

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1. Time Ride (3:54)
2. There Are People (6:36)
3. Blind Man (4:23)
4. To Be Alone (5:34)
5. Sunshine (3:35)
6. Indian River (5:26)
7. Do You Still Remember (3:46)
8. Ice Dream (3:24)
9. Gone (4:19)

Michael Koch - guitars
Gunnar Schafer - bass guitar
Ringo Funk - drums & vocals

Progarchives:
"Jeronimo was founded in 1969 and in '69/'70 they had their first two hits "He Ya" and "Na Na Hey Hey". With these two chartbreakers, Jeronimo climbed to the number 1 position in almost all European countries.

In 1970 Jeronimo and "Steppenwolf" toured successfully through Germany and in the same year Jeronimo partook in the legendary "Progressive Pop Festival" in Cologne. Following that, Jeronimo shared the headlines with such groups as "Deep Purple" and "Golden Earring" at various European open-air festivals.

In 1970, Jeronimo, together with Creedence Clearwater, presented the album "Spirit Orgaszmus", which was a success throughout all of Europe.

After 30 years and millions of records sold worldwide, Jeronimo is still cult. In 1999/2000, their hits "Na Na Hey Hey" and "He Ya" were re-released on numerous hit-compilations.

The CD's "Cosmic Blues", "Time Ride" and "Best of" have been available in record stores since 1991.

After numerous negotiations with "the purple record-company" in Frankfurt, Ringo Funk successfully acquired the rights to all of Jeronimo's songs in November of 2000.

In the spring of 2002, 4 new CD's "Jeronimo", "Cosmic Blues", "Time Ride" and "Best of" will be released, which have been digitally mastered from the original recordings. There will be a bonus track on each of the CD's (partially with previously unreleased material)."

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1. Dear Old Stockholm 12:24
2. Paul's Pal 12:22
3. Flute Blues 7:11
4. Ray's Idea 7:26
5. The Blues Walk 9:16

Donald Byrd - Trumpet
Bobby Jaspar - Flute, Sax (Tenor)
Walter Davis, Jr. - Piano
Doug Watkins - Bass
Art Taylor - Drums

AMG:
"Trumpeter Donald Byrd spent a few months in France during 1958. A Paris concert resulted in two LPs' worth of material which were reissued on this Polydor CD in 1988. Byrd's quintet at the time included Bobby Jaspar (on tenor and flute), pianist Walter Davis, Jr., bassist Doug Watkins and drummer Art Taylor. Byrd was just beginning to find his own sound in the late '50s and he is in excellent form on "Dear Old Stockholm," Sonny Rollins' "Paul's Pal," Jaspar's "Flute Blues," "Ray's Idea" and "The Blues Walk." This is a fine all-around hard bop session that is equaled by the second CD."

( Read more... )

1. Traveller (2:40)
2. Prenormal Day At Brighton (2:45)
3. Masai Morning (6:44)
4. Windweaver (3:43)
5. Dragonfly Day (7:45)
6. Petunia (4:46)
7. Telephone Girl (4:54)
8. Psychiatric Sergeant (3:08)
9. Slow Ride (2:36)
10. Sundial Song (5:08)

Tony Duhig - guitars
Glyn Havard - bass, vocals
Jon Field - percussion, flutes

AMG:
"Jade Warrior's first album following Tony Duhig and Jon Field's emergence out of the psychedelic July captures them abandoning the best of that band's whimsical moodiness in favor of a symphonic spirituality epitomized from the outset by the soaring guitars that ecstatically slice through the opening "Traveller." Reminiscent, in places, of a less-precious successor to Quintessence and the Incredible String Band in that moods and esotericism do sometimes get the better of the band's more conventional music impulses, Jade Warrior is nevertheless a remarkable album, all the more so since its makers could readily have given the likes of Jethro Tull and the Moody Blues some serious competition in the mellifluous prog stakes. Glyn Havard's vocals themselves can sound extraordinarily Ian Anderson-ish in places, with Field's wielding of the flute and some distinctly edgy tempos only furthering that impression. Elsewhere, however, the same tools combine to induce emotions that range from trance to terror, an accomplishment that means highlights of the album are difficult to single out. Although the ten tracks are clearly delineated, the song titles are little more than passing impressions of the music's own sensations, rendering Jade Warrior one of those rare albums that is best experienced as a seamless whole."

( Read more... )

1. Paul Consalves 17:37
2. Lester 9:56
3. Ben 10:09
4. Calling Steve McCall 6:17
5. Lovejoy 6:11
6. Instanbul 9:24
7. David's Tune 7:50
8. Let the Music Take You 3:49

David Murray - Clarinet (Bass), Sax (Tenor)
Andy Bey - Vocals
James Spaulding - Flute, Sax (Alto)
Patience Higgins - Sax (Soprano), Sax (Tenor)
John Purcell - Sax (Alto)
Don Byron - Clarinet, Sax (Baritone)
James Zollar - Trumpet
Graham Haynes - Trumpet
Hugh Ragin - Trumpet
Rasul Siddik - Trumpet
Vincent Chancey - French Horn
Frank Lacy - Trombone
Craig Harris - Trombone
Sonelius Smith - Piano
Fred Hopkins - Bass
Tani Tabbal - Drums

AMG:
"The David Murray big band, which can be undisciplined and even a bit out of control, is never dull. This generally brilliant effort has quite a few highpoints. "Paul Gonsalves" recreates the tenor's famous 1956 Newport Jazz Festival solo and has some heated playing from the ensemble. While "Lester" does not really capture the style of Lester Young, "Ben" does bring back the spirit of Ben Webster. "Calling Steve McCall" is a heartfelt tribute to the late drummer (although the poetry does not need to be heard twice) and trombonist Craig Harris' singing on "Let the Music Take You" is so-so, but the colorful "David's Tune" and the eerie "Istanbul" are more memorable. This disc is easily recommended to listeners with open ears."

( Read more... )

1. Mr. Skin 3:47
2. Midnight Sun 3:44
3. Midnight Rider 3:15
4. Harvest 4:15
5. Mr. A. Jones 3:08
6. Sunday Morning 3:52
7. Big Lil. 4:34
8. Jessica 4:07
9. Future Days 4:06

10. Promised Land 3:54
11. Cuckoo 3:42
12. All My Life 6:32
13. It Ain't Easy 5:54
14. Suicide Pilot 4:13
15. Why Can't It Happen to Me 3:52
16. Dead Flowers in the Mirror 3:58
17. Prospector Dan 4:54
18. How Can a Poor Man Stand These Times and Live? 3:54

Paul Williams - Vocals
Micky Moody - Guitar
Chris Mercer - Organ, Piano, Saxophone (1-9)
Rod Coombes - Drums (1-9)
Jim Leverton - Bass (1-9)
Glenn Campbell - Guitar (1-9)
Ian McLagan - Keyboards (10-18)
Jean Roussel - Keyboards (10-18)
Mick Weaver - Keyboards (10-18)
Andy Pyle - Bass (10-18)
Ron Berg - Drums (10-18)

AMG:
"Saucy blues-rockers Juicy Lucy formed in 1969 from the ashes of cult-favorite garage band the Misunderstood, reuniting vocalist Ray Owen, steel guitarist Glenn "Ross" Campbell and keyboardist Chris Mercer; with the additions of guitarist Neil Hubbard, bassist Keith Ellis and drummer Pete Dobson, the group immediately notched a UK Top 20 hit with their reading of the Bo Diddley perennial "Who Do You Love," with their self-titled debut LP falling just shy of the Top 40. Ex-Zoot Money singer Paul Williams, guitarist Mick Moody and drummer Rod Coombes replaced Owen (who exited for a solo career), Hubbard and Dobson for 1970's Lie Back and Enjoy It, with bassist Jim Leverton assuming Ellis' duties for the follow-up, 1971's Get a Whiff a This. The constant turnover clearly took its toll on the group both creatively and commercially, with co-founders Campbell and Mercer both exiting prior to the fourth Juicy Lucy album, 1972's Pieces, which was recorded by a makeshift lineup of Williams, Moody, keyboardist Jean Roussel and the former Blodwyn Pig rhythm section of bassist Andy Pyle and drummer Ron Berg. Juicy Lucy finally disbanded shortly thereafter. Ray Owen revived the name in 1995 for the album Here She Comes Again which found Mike Jarvis (guitar), Andy Doughty (bass), and Spencer Blackledge (drums) rounding out the band. A couple of years later this version of the band broke-up but Owen wanted to keep on going, especially when he formed a musical partnership with a guitarist known as Mr. Fish. Legal problems kept the new band from using the Juicy Lucy name so they gigged as Ray Owen's Moon. By 2004 bassist Fudge and drummer Fletch had joined the band and the legal issue was settled. The new Juicy Lucy spent 2006 working on a new album and touring the U.K. with Nazareth. "

( Read more... )

1. Ramblin' 3:07
2. Today I Sing the Blues 4:22
3. Pitiful 3:01
4. Crazy He Calls Me 3:24
5. Bring It on Home to Me 3:39
6. Somewhere 6:14
7. Moody's Mood 2:55
8. Just Right Tonight 7:42

Aretha Franklin - Piano, Vocals
Frank Wess - Sax (Alto)
Phil Woods - Sax (Alto)
King Curtis - Sax (Tenor)
Pepper Adams - Sax (Baritone)
Joe Newman - Trumpet
Snooky Young - Trumpet
Kenny Burrell - Guitar
Urbie Green - Trombone
Billy Preston - Piano
Joe Zawinul - Piano
Quincy Jones - Arranger, Conductor
and others

AMG:
"A good anthology that covers various album cuts, B-sides, and assorted material in a jazz vein that Aretha cut for Columbia. It's great to hear her underrated piano playing given some more space, and Columbia should really reissue her Dinah Washington tribute album, from which they pulled a couple of these songs. Aretha wasn't a jazz vocalist from the standpoint of approach or inspiration, but she really can sing anything and showed it on these cuts, even if they weren't, for the most part, hits."

( Read more... )

1. Tarantos del Califato Independiente (20:46)
2. Darshan (8:30)
3. Cerro Alegre (7:33)
4. Cancion de la Oruga (5:32)

Manuel Rodrigue - guitar
Marcos Mantero - keyboards
Iñaki Egaña - bass and vocals
Kiko Guerrero - drums

Progarchives:
"The acclaimed Spanish fusion band IMÁN CALIFATO INDEPENDIENTE has its origins at a convention, given by the meditation guru Maja-raj-ji, in the mid Seventies. Like genuine hippies, the musicians lived together in one house in El Puerto De Sta. Maria and eventually they founded IMAN, featuring Inaki Egana (bass and vocals), Kiko Guerrero (drums and percussion), Marcus Mantero (keyboards), and Manuel Rodriguez (6 - and 12-string electric guitar, vocals and percussion). In '78 they made their first record, entitled "Iman Califato Independiente". In '80 IMAN produced their second and last album "Camino del Aguila". IMAN also appeared on the Spanish compilation albums "Rock Andalus" ('94) with the songs "Tarantos", "Cancion de la Oruga" and "Ninos" and the exciting 2-CD "Duende" ('97) with "Tarantos". Their strong and alternating sound is a fusion of symphonic rock in the vein of PINK FLOYD and the jazzrock from the CANTERBURY SCHOOL, added with some Andalusian flavour.

Both albums by IMAN are worth listening if you are up to a mainly instrumental blend of jazzrock and symphonic rock. The rhythm-section is tight and adventurous, the guitarplay strong and the keyboards sound pleasant. The most captivating element of IMAN is the interplay between guitar and keyboards (at some moments evoking ICEBERG). The above-mentioned composition "Tarantos" (this is a flamenco rhythm) captures the best of IMAN, what a exciting guitar and keyboards! In contrary, "Ninos" (with vocals) is a wonderful and romantic, folky-oriented track. This emphasizes the variety of their music."

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1. La marcha de los enanitos (10:30)
2. Maluquinha (6:29)
3. Camino del aguila (14:00)
4. Niños (3:05)

Manuel Rodriguez - vocals, guitars
Marcos Mantero - keyboards
Urbano Moraes - bass, percussion, chorus
Kiko Guerrero - drums, percussion
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Ruben Dantas - percussion (2)
Dierdre Fallon - chorus (4)

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1. Liberation I 3:53
2. Ain't No Peace 3:06
3. Baby Please Don't Go 7:23
4. Shelagh 2:17
5. Liberation Interlude 1:13
6. Liberation Interlude 0:33
7. Confusion 2:34
8. St. Louis Blues 6:42
9. Cuttin' Out 2:37
10. The Beard 3:48
11. Liberation II 3:08
12. Finale 0:50

Steve Radford - Guitar
Alan Feldman - Organ, Piano, Harpsichord
Johnnie Taylor - Bass
Nick Payn - Flute, Harmonica, Vocals
Chico Greenwood - Percussion, Drums

AMG:
"Jasper's sole album is an odd, unbalanced affair that doesn't have enough ideas or songs to really merit a full-length release, even as it betrays sporadic hints of quirky imagination. There's John Mayall-styled blues-rock ("Ain't No Peace," "Confusion"), Colosseum-like jazz-blues-rock ("Baby Please Don't Go," "The Beard"), rambling morbid bluesy instrumental jamming (including a six-minute wordless version of "St. Louis Blues" with hauntingly sad harmonica), and a Baroque-psychedelic arrangement of Donovan's "Cuttin' Out." Weirdest of all is "Liberation," a repeated classical-sounding bolero that's actually rather catchy, but seems more suited for the soundtrack of a movie like To Sir With Love than a late-'60s underground blues-rocky LP. Weirder still, the "Liberation" motif is repeated four times in varying arrangements over the course of the album, twice in full-length versions, and twice as briefer interludes. It's not an offensively bad record by any means, but it's not noteworthy as either blues-rock or off-the-wall strangeness."

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1. Moods 1:36
2. That Good Morning Love 4:04
3. Don't Wait for Love 4:52
4. Sorry, I 5:13
5. I Can't Make You Love Me 5:40
6. Just to Be With You 4:27
7. Stella by Starlight 5:35
8. Inseparable 4:54
9. Just a Game 5:11
10. Fall in Love Again 4:30
11. Hold On 4:40
12. Where Is the Love? [From Oliver] 4:04
13. Moods (Interlude) 1:35

Will Downing - Vocals
Gerald Albright - Sax, Flute
Art Porter - Sax
Rex Rideout - Keyboards
Ronnie Foster - Keyboards
Ronnie Garrett - Bass
Anthony Jackson - Bass
Omar Hakim - Drums
Harvey Mason - Drums
and others

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2 Hey Everybody 3:37
3 I've Got News for You 4:47
4 Come See About Me 4:16
5 Harlem Shuffle 5:22
6 Love Light 7:06

Mark Farner - Guitar, Harmonica, Keyboards, Vocals
Don Brewer - Drums, Vocals

AMG:
"Mark Farner calls this a bootleg put out by the people at the original label who released music by Terry Knight & the Pack, a company called Lucky Eleven; but bootleg or no, Monumental Funk is an amazing record that Don Brewer and Mark Farner have every right to be very proud of. While Grand Funk Railroad's manager, Terry Knight, may have been a fine producer and a marketing genius, his own efforts at songwriting and singing were the worst aspects of the Pack. Here Farner and Brewer absolutely shine, their version of "Harlem Shuffle" more fun than the hit version by the Rolling Stones. When Don Brewer formed Flint and released a disc on Columbia in 1978, he covered the Supremes' "Back in My Arms Again." Here Mark Farner trumps him with "Come See About Me," a great non-Motown version by these Michigan boys. Farner's original, "We Gotta Have Love," is worthwhile, as is the tremendous rendition of "Hey Everybody." Yes, this record was released to cash in on the fame of Grand Funk Railroad, and there is even a picture disc version of it. The release of this music made the boys in the band angry, but there is a silver lining. Monumental Funk shows that Grand Funk Railroad was no fluke and that Mark Farner was a major talent before Capitol Records signed him and brought him to the attention of millions of fans."

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1. Minina Moca [Young Lady] 5:41
2. Once Again [Otra Vez] 6:42
3. Winter Moon 5:21
4. Do What You Do, Do 4:35
5. Samba Da Sahra [Sahra's Samba] 4:54
6. Maracatu-Too 5:00

Stan Getz - Sax (Tenor)
Laurindo Almeida - Guitar
George Duvivier - Bass
Edison Machado - Drums
Jose Boorez - Drums
Dave Bailey - Drums
Luis Parga - Percussion, Rhythm
Jose Paulo - Percussion, Rhythm
Creed Taylor - Producer

AMG:
"Three weeks after completing his meeting with Luiz Bonfá and only two days after the epochal Getz/Gilberto sessions, Stan Getz was back in the studio recording more bossa nova. Producer Creed Taylor was obviously striking while the iron was hot, getting in as many Brazilian sessions as he could, yet the quality of the music-making remained consistently marvelous. Continuing his practice of running through one star guitarist after another, this time Getz has Laurindo Almeida as the designated rhythm man, featured composer, and solo foil. The rhythm section is an authentically swinging mixture of American sidemen (including Steve Kuhn on piano and George Duvivier on bass) and Brazilian percussionists. Almeida didn't like to improvise, so his solos stay close to the tunes, inflected with a perfectly matched feeling for the groove along with classical poise. Jobim's "Outra Vez" is a particularly lovely example of Getz's freedom and effortless lyricism contrasted against Almeida's anchored embroidering. Sessions like these might have been seen as cashing in on the boom at the time, yet in the long view, one should be thankful that these musicians were recording so much cherishable material."

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