1. Prelude / The Storm 12:22
2. It Is as It Must Be 8:28
3. Spunk Box 5:48
4. My Name Is Jesus Smith 4:06
5. Parchment and Candles 1:53
6. Brother Arnold's Red and White Striped Tent 5:04

Clive John - Guitar, Keyboards, Vocals
Micky Jones - Guitar, Vocals
Deke Leonard - Guitar, Vocals
Ray Taff Williams - Bass
Jeff Jones - Drums

AMG:
"This release sees Man rely less on the Hammond and harmonized vocals, and more on hard-driven guitar. Its compositional ambitions are perhaps a bit greater -- it opens with "Prelude" and "The Storm," an extended jam that became ever longer and even more free form over the years as a concert favorite. "It Is as It Must Be" circles around the monster groove of a two-chord guitar vamp, while "Spunk Rock" struts over a jagged floor of overdriven guitar and yelped vocals. If nothing else, both the song and the album can be said to live up to their names."


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1. Kari 6:30
2. The Afterglow 6:33
3. Love Lips 6:38
4. Mallorca 4:48
5. I'll Never See You Smile Again 5:27
6. Winding River 5:22

Bob James - Keyboards
Earl Klugh - Guitar
Eric Gale - Guitar
Hilary James - Piano
Ron Carter - Bass
Gary King - Bass
Neil Jason - Bass
Harvey Mason, Sr. - Drums
Ralph MacDonald - Percussion
Jim Buffington - French Horn
Wally Caine - Woodwind
Phil Bodner - Woodwind
George Marge - Wind, Woodwind
Romeo Penque - Wind, Woodwind
Walter Kane - Wind
Harry Cykman - Violin
Lewis Eley - Violin
Marvin Morgenstern - Violin
Max Ellen - Violin
Richard Sortomme - Violin
Matthew Raimondi - Violin
Emanuel Vardi - Viola
Barry Finclair - Violin
Al Brown - Viola
Alan Shilman - Cello
Charles McCracken - Cello

AMG:
"Hot on the heels of his commercial breakthrough Touchdown, which contained the monster hit "Angela (Theme from Taxi)," Bob James teamed up with acoustic guitarist Earl Klugh for the first of two hit duet albums. One on One is not strictly a duet side, however. The pair is accompanied by a band of crack studio types that includes James' former CTI mates acoustic bassist Ron Carter and drummer Harvey Mason and a host of others as well as string and woodwinds sections. The fare is light, breezy, and barely there in places. Out of these sessions came "The Afterglow," which lit up the charts right after "Angela" did, making James the hottest jazz commodity on the scene."


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1. Entre Dos Aguas 6:02
2. Zorongo Gitano 2:55
3. Rio Ancho 4:29
4. En la Caleta 3:23
5. Convite 5:05
6. Monasterio de Sal 4:52
7. Panaderos Flamencos 2:36
8. Punta Umbría 3:23
9. Chanela 3:57
10. La Nina de Puerta Oscura 2:59
11. Castro Marin 4:12
12. Guajiras de Lucía 3:21
13. Mantilla de Feria 3:17
14. El Vito 2:51

Paco de Lucia - Guitar
Ramona de Algeciras - Second Guitar (1,3,6,9,10,14)
Ricardo Modrego - Second Guitar (2)
Larry Corryell - Guitar (5)

AMG:
"The role of the flamenco guitar has evolved through the playing of Paco de Lucia (born Francisco Sanchez Gomez). The son of flamenco guitarist Antonio Sanchez and the brother of a flamenco guitarist, Ramon, and flamenco singer, Pepe, de Lucia has extended the former accompaniment-only tradition of flamenco guitar to include deeply personal melodic statements and modern instrumentation. His collaborations have included ten albums with late flamenco vocalist El Camaron de la Isla and work with American pianist Chick Corea and the Guitar Trio, featuring guitarists John McLaughlin, Larry Coryell, and Al DiMeola. His recordings with his sextet, which includes his brothers Ramon and Pepe, include such groundbreaking masterpieces as La Fabulosa Guitarra de Paco de Lucia, Fantasia Flamenca, Fuente y Caudal, Almoraima, and Zyryab. Yet, de Lucia has not completely forsaken traditional flamenco. His 1980 album, Interpreta a Manuel de Falla, paid homage to the classical composer and flamenco enthusiast, while his 1987 album, Siroco, marked a return to pure flamenco. "I have never lost the roots in my music," de Lucia said during a late-'90s interview, "because I would lose myself. What I have tried to do is have a hand holding onto tradition and the other scratching, digging in other places, trying to find new things I can bring into flamenco."

Born in Algeciras, a small city in southernmost Spain's Cadiz province, de Lucia was bred to be a world-class musician. He trained with his father and brother from the age of five. Mastering the art of flamenco guitar by his 11th birthday, he made his public performance debut on Radio Algeciras in 1958. A year later, he received a special award at the Festival Concurso International Flamenco de Jerez de la Frontera. Heralded as a child prodigy, de Lucia was invited to join the flamenco troupe led by dancer Jose Greco at the age of 16. He remained with the group for three years. A turning point in de Lucia's musical development came while on tour with Greco's troupe in North America. Meeting Sabicas, the first flamenco guitarist to tour the world, he was instructed to pursue his own style of playing. Although he remained tied to traditional flamenco on his first two solo albums -- La Fabulosa Guitarra de Paco de Lucia in 1967 and Fantasia Flamenca in 1969 -- and recorded ten albums accompanying flamenco vocalist de la Isla, de Lucia continued to seek a personal approach. "

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1. Merlin (7:23)
2. Tintagel (2:41)
3. The sword in the stone (3:21)
4. The king's enchanter (2:42)
5. Niniane (Lady of the Lake) (7:22)
6. Seagull (4:10)
7. Boogie heart (4:11)
8. Not that we've gone this far (4:39)
9. Can't afford to lose (3:19)
10. Love's aglow (6:03)

Edward Reekers - vocals
Johan Slager - guitars, backing vocals
Ton Scherpenzeel - keyboards, backing vocals
Peter Scherpenzeel - bass
Max Werneer - drums, percussion, vocals
Katherine Lapthorn - backing vocals
Irene Lindner - backing vocals

AMG:
"After two unabashed pop releases, this Kayak album marks a return to the progressive edge that was the foundation of the band's early success. Although this was the third release featuring lead vocalist Edward Reekers, who took over for Max Werner after Starlight Dancer, Merlin most closely resembles Kayak's pre-Reekers period. Considering the steadily declining quality exhibited on Phantom of the Night (1978) and Periscope Life (1980), it was surprising that, amid the new wave craze, this band would return to its earlier form. That's a credit to songwriter and keyboardist Ton Scherpenzeel, who recognized the condition Kayak was in and virtually single-handedly resuscitated the band, fully realizing that its demise was still inevitable. It's admirable for a band, knowing the end is near, to exit uncompromisingly, with dignity. Sure, a few pure pop numbers are peppered throughout this album, like "Seagull" and "Boogie Heart," but overall Merlin is defined by the more prog-leaning pieces like the title track, "Tintagel," and "The Sword in the Stone." While always a keyboard-dominated band, guitarist Johan Slager complemented the music nicely with tasteful and unassuming accents that filled out the group's sound appropriately. This album would give rise to one final live album, Eyewitness, but Merlin was the studio farewell for one of Holland's finest bands."


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1. Lisbon Antigua (In Old Lisbon) 2:16
2. Meditation (Meditacáo) 2:33
3. O Barquinho (Little Boat) 2:17
4. More 2:26
5. Danke Schoen 2:28
6. I Left My Heart in San Francisco 2:28
7. Satin Doll 2:17
8. Heart Aches 2:29
9. I Will Follow Him (Chariot) 2:57
10. Recado Bossa Nova 2:56
11. Hava Nagila 1:58
12. Fly Me to the Moon 2:34
13. Rio Bonita (Beautiful Rio) 2:47
14. Till Then 3:20
15. Sukiyaki 2:13
16. Say Wonderful Things 1:51
17. What Kind of Fool Am I? 2:28
18. The Alley Cat Song 2:05


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1. Mandala 4:59
2. Morning of My Life 3:36
3. Woman of the Night 4:55
4. Celebration 5:06
5. Blue Water 8:05
6. My Damsel Heart 6:16
7. Love Is Everywhere 4:23

Sally Oldfield - Guitar, Keyboards, Vocals, Wind
Mel Collins - Saxophone
Kenny Wheeler - Trumpet
John Kirkpatrick - Accordion
Nico Ramsden - Guitar
Tim Renwick - Guitar
Roger Rettig - Guitar
Tim Cross - Keyboards
Brian Miller - Keyboards
Herbie Flowers - Bass
Alan James - Bass
Tom Newman - Drums, Vocals
Stuart Elliott - Drums
Pierre Moerlen - Drums
Graham Jarvis - Drums
Duncan Kinnell - Percussion
Morris Pert - Percussion
Frank Ricotti - Percussion

AMG:
"The sister of both Terry and Michael "Tubular Bells" Oldfield, Sally Oldfield got her musical career started by appearing on several of Michael's projects in the '70s. This led to Sally securing her own solo record deal, resulting in such releases as 1978's Water Bearer, and the 1980 U.K. hit single "Mirrors." Sally also appeared on the holiday album Star of Heaven album with her brother Terry - showcasing her vocal talents on a 23-minute-long version of "Ave Maria" and a soul stirring reading of "Silent Night." She's issued solo albums throughout the '80s and '90s - her first release of the new millennium was the double-disc anthology Mirrors in 2001."


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1. Jugo de Lúcuma
2. El diluvio y la pasajera
3. Suspención
4. Temo de Elmo Lesto
5. Azafata del tren fantasma
6. Irregular

Luis Alberto Spinetta - vocals and guitars
Carlos Rufino - bass and backing vocals
Hector Lorenzo - drums

Progarchives:
"Invisible was originally formed by Luis Alberto Spinetta (guitars and vocals) who was formerly from the band Pescado Robioso that recently broke up at the time. The bass and drums were played by two former Pappo's Blues members Hector Lorenzo (drums) and Carlos Rufino (bass.) During the beginning of the bands playing (1973) the music was more straightforward rock with influences of Hendrix and Zeppelin and touches of a Black Sabbath sound. Their first, self-titled album, reflected their influences and was very complex, especially for a three man rock group.

Their next album "Durazno Sangrando" was their debut on a major label and an all out progressive album. Spinetta's lyrics were very well written. The story to "Durazno Sangrando" was based on a book by Carl Jung. "Durazno Sangrando" is their most progressive album and is generally noted as the bands best material. In 1975, virtuoso guitarist Tommy Gubitsch joined the group. Their third and final album "El Jardín de los Presentes" turned out to be their most popular. This album has a lot of Tango influence and also some sounds that would remind us of early King Crimson. After the success of "El Jardín de los Presentes" the band split up at the end of 1976. Spinetta pursued a jazz-fusion esque solo career after the breakup.

Invisible was a bigger band in the Argentine prog scene and is definitely worth a good listen. If you are interested at all in Argentine prog they are essential. Their middle album "Durazno Sangrando" is their best and most interesting though "El Jardín de los Presentes" is also worth a good listen (mainly for it's fusion of rock, prog, and tango influence.)"


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1. Pygmy Suite 5:10
2. Martin Denny 6:31
3. Exotique 5:44
4. Luvin' Blume 4:56
5. Quiet 5:33
6. Oakland 3:40
7. Dick Contino's Blues 5:45
8. Kid Rock Deluxe 5:18
9. 7 Bars 4:47

Steven Bernstein - Mellophonium, Vocals, Liner Notes, Slide Trumpet
Briggan Krauss - Sax (Alto), Sax (Baritone)
Tony Scherr - Bass, Percussion, Drums, Vibraphone, Bird Whistle
Mike Dillon - Tabla

AMG:
"Sexotica is Sex Mob's homage to Martin Denny and the sound of Exotica, but don't go in expecting a Quiet Village. Instead, it seems like the idea was to create their own very personal soundworld, much the way Denny did, but using different tools and sounds. In many ways, it's just another step in a logical progression for Sex Mob. They've never been afraid of using studio tricks; previous releases were co-produced by Scotty Hard who added some of his own sonic treatments, but this time out the entire album is a full-on collaboration between the production team of Good and Evil (Danny Blume and Christian Castagno) and the band, where the music and production are practically equal players. The tunes were recorded live in the studio (first or second takes), with Kenny Wollesen overdubbing various percussion. Then the tapes were simply handed over to Blume and Castagno to do what they wanted, keeping in mind leader Steven Bernstein's admonition to divide the sound about equally between the band tracks and the production. It's a trippy and sometimes confusing mix of organic instrumentation and production techniques that often makes it difficult to figure out who's doing what. There are Briggan Krauss' saxophones, Bernstein's slide trumpet, Tony Scherr on bass, and Wollesen's drums and percussion (all of which may or may not be treated), but there's also scratching, samples, bits of studio chatter, crazy stereo panning, rhythm boxes and programming, dub techniques, and bits of sonic flotsam and jetsam that all weave in and out through the mix. Oh yeah, it grooves like crazy too, from the tribal "Pygmy Suite" to the slinky "Quiet" to the ferocious ending of "7 Bars." Bernstein and Krauss are both wonderfully deranged players when they want to be, and there's some nice soloing on Sexotica, but it's more about feel and mood on this album than soloing. Sex Mob's mission has always been to bring jazz back into the popular mainstream, not as a museum piece but as music of the people: dance music, the way it was before the business of music took precedence over the music. They play loose, they play fun, and they play to make you move. There's never been a jazz album that sounded like this, but Sex Mob have been in a league of their own for some time now. Jazz purists will hate it, but that's part of the fun too. If you've got an ear for adventurous jazz and a good groove, make travel plans to go to Sex Mob's land of Sexotica. It's quite a trip."


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1. All Strung Out over You 2:30
2. People Get Ready 3:52
3. I Can't Stand It 2:42
4. Romeo and Juliet 4:32
5. In the Midnight Hour 5:32
6. So Tired 4:05
7. Uptown 2:56
8. Please Don't Leave Me 3:00
9. What the World Needs Now Is Love 3:20
10. Time Has Come Today 11:06
11. Dinah 2:24
12. Falling in Love 2:18
13. Love Me Like the Rain 2:50
14. Time Has Come Today 3:52

Lester Chambers - Harmonica, Vocals
Willie Chambers - Guitar, Vocals
Joe Chambers - Guitar, Vocals
George Chambers - Bass
Brian Keenan - Drums

AMG:
"This, the Chambers Brothers' coming-of-age record, was a well-timed and even better executed exercise in modern record-making. The brothers had recorded several excellent gospel-folk sides on a few labels (including CBS) in the mid-'60s. They were darlings of the folk set, and even sang backup on a few unreleased Bob Dylan sessions in 1965. By 1967, they were at loose ends. Having demoed a slightly demented song that year called "Time Has Come Today," the group entered the studio with producer David Rubinson, who was fresh from some critical acclaim after recording Moby Grape. The resulting album and subsequent title track hit were huge successes, especially on FM radio. The rest of the album shows the brothers not just embracing the psychedelic trends, but also redefining their R&B leanings."


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1. Cuarenta Semanas Felices (3:32)
2. Estado De Alerta (7:36)
3. Una Vida Sin Sentido (6:36)
4. Finalmente Liberado (7:37)
5. Nunca Haremos Lo Suficiente (4:50)
6. Game Over (4:56)
7. Testamento Anónimo (9:30)

Aníbal Obit - bajo
Gustavo Bellotti - teclados y coros
Javier Mafut - batería
Marcelo Mafut - guitarra y voz

musearecords.com:
"DIOSA ARCANA is an Argentinian quartet which includes guitarist-singer Marcelo MAFUT, keyboardist Gustavo BELLOTTI, bass player Anibal OBIT and drummer Javier MAFUT. On "Consciencia De Un Destino", recorded in 1998, they perform a beautiful and atmospheric music. It reminds of PINK FLOYD or FUGU..."


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1. Yes We Can Can 6:05
2. Cloudburst 3:12
3. Jada 4:42
4. River Boulevard 5:54
5. Old Songs 4:04
6. That's How I Feel 7:10
7. Sugar 2:19
8. Pains and Tears 2:37
9. Naked Foot 3:47
10. Wang Dang Doodle 7:38

Anita Pointer - Vocals
Bonnie Pointer - Vocals
June Pointer - Vocals
Ruth Pointer - Vocals
Skip Mesquite - Saxophone
John Rewind - Guitar
Willie Fulton - Guitar
Glen Ballard - Synthesizer
Brock Walsh - Synthesizer
Tom Salisbury - Piano, Keyboards
Norman Landsberg - Keyboards
Joe Crane - Piano, Keyboards
Rod Ellicott - Bass
Dexter C. Plates - Bass
Ron McClure - Bass
Gaylord Birch - Drums
Jerome Kimsey - Drums
Eddie Marshall - Drums
Ed Marshall - Drums

AMG:
"With a big push from their Blue Thumb label, who introduced the band by way of a full-page ad in Billboard magazine, the Pointer Sisters took their eponymous debut straight to the top of the R&B charts in summer 1973 on the strengths of their penchant for mixing classic '60s R&B with fresh forward-thinking grooves. Add the sisters' harmonies and complex vocal moves, and there's no doubt the group was destined for a fast rise. Produced by David Rubinson, The Pointer Sisters contained effusive covers that cradled two of the Pointers' own compositions. That remarkable combo, then, allowed the Allen Toussaint classic "Yes We Can Can" to rub shoulders with the original "Jada," a boogie blues-shaded slab of jazz, and a perfect fingerprint of the eclectic style that would define the Pointers' core. That same bent also allowed them to give equal energy to the Willie Dixon gem "Wang Dang Doodle," a song which quickly became a live set favorite, and also to their own "Sugar." Other high points include "River Boulevard," a mid-tempo vocal that gives way to a light rock riot. It was easy to see exactly where the Pointer Sisters were headed. With talent to spare and an energy that was fresh and unending, this set emerges a cohesive and joyous cabaret, allowing the quartet to do what it does best. Listening to these earliest gems, it's no surprise, then, that the band would spend the better part of the next two decades in the charts."


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1. Dub Sister Dub It 3:17
2. Rock Pon the Rock 1:57
3. A Dread Earthquake 3:15
4. Natty Dread a Trademan 3:03
5. Nine Months Belly 3:06
6. Weakheart Fadeaway 3:08
7. Natty the Collie Smoker 3:04
8. Queen Tell 3:18
9. Honest Living 3:01
10. Milkman Coming 2:52

Ranking Joe - Vocals
Radcliffe Bryan - Guitar
Ansel Collins - Keyboards
Bernard Touter Harvey - Keyboards
Bertram "Ranchie" McClean - Bass
Robbie Shakespeare - Bass
Sly Dunbar - Drums
Stanley "Barnabas" Bryan - Percussion
Uziah "Sticky" Thompson - Percussion

AMG:
"What Studio One was to Jamaica's up-and-coming singers, Stur-Gav Hi-Fi Sound System was to its toasters, a finishing school for DJs. Founded by U-Roy, its first graduates were Jah Screw and the newly promoted to Ranking Little Joe. Weakheart Fadeaway, released in Jamaica in 1978, bundled up ten of Ranking Joe's recent recordings from Channel One, with Jo Jo Hookim taking the production credit. The Revolutionaries provided the riddims, and a stellar bunch they were, for why would the DJ deign to ride anything less? Back then, his live performances were the stuff of legend, and "Rock Pon the Rock" captures the excitement Joe engendered, as he pays tribute to the "Rockfort Rock" riddim he's riding with such aplomb. "Dub Sister Dub It" is a rub-a-dub big-up to the dance, cut on a version of the Wailing Souls' "Joy Within Your Heart." But Ranking Joe was equally capable of delivering powerful cultural numbers, like the powerful "A Dread Earthquake," a version of "He Prayed," and the potent title track, a major hit cut on the "Fade Away" riddim. On "Milkman Coming," the DJ expounds on Rastafarian practices, while "Natty Dread a Trademan" is a strong riposte to the "Rastas are all loafers" slander. "Honest Living" further elaborates on the latter's point, while exploring the difficulties involved. "Living" is a slice-of-life look at the working class, and "Natty the Collie Smoker" hangs out with the chalice puffers. And then there's "Queen Tell," which transforms Cornel Campbell's romantic classic "Queen of the Minstrels" into a telling tale of a Jezebel. The riddims and production are superb and Ranking Joe is at his headiest heights. Of course, the DJ unleashed many more hits in the aftermath of this set, yet few of his full-lengths would reach this level of overall quality."


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Desolation, 1966
1. Things I Remember
2. Hobo Blues
3. Just For Fun
4. I'm In Love
5. Gin House Blues
6. Desolation Blues
7. Five Long Years
8. Let's Make It

Groiten Uit Grollo, 1967
9. Another Day, Another Road
10. The Big Bell
11. Somebody Will Know Someday
12. So Many Roads
13. King Of The World
14. Baby, Please Don't Go
15. No Shoes
16. Another Land

Trippin' Thru a Midnight Blues, 1968
1. Checkin' Up on My Baby
2. Down the Road
3. Window of My Eyes
4. Trippin' Thru' a Midnight Blues
5. Big Blue-Eyed Girl
6. Going Home
7. The Sky Is Crying
8. Feelin' Down Low
9. Feel So Bad

Praise the Blues, wit Eddie Boyd, 1967
10. Nuttin' but Trouble
11. No Place Like Home
12. Understanding
13. Twenty-Four Hours
14. The Hammond Sings the Blues
15. The Big Boat
16. Mr. Highway Man
17. I'm in Your Corner
18. Swinging Boogie
19. Early Grave
20. Little Red Rooster

Harry Muskee - vocals
Eelco Gelling - guitar
Helmig van der Vegt - piano
Herman Deinum - bass guitar
Hans Lafaille - drums

AMG:
"Although unknown to the English-speaking market, Cuby & the Blizzards have been one of Holland's top blues bands since the mid-'60s. Some of their early singles had a beat/punk orientation, particularly "Stumble & Fall" and "Your Body Not Your Soul," both of which would be reissued on various Dutch beat compilations a few decades later. They quickly settled into a straighter blues groove, however. Their claims to fame in the larger rock/pop world are that they briefly backed Van Morrison in the gap between his departure from Them and the beginning of his solo career, although details of the association remain murky; also, at one point lead guitarist Eelco Gelling was asked to join John Mayall's Bluebreakers, although he declined. "


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1. My Funny Valentine 7:41
2. On Green Dolphin Street 3:20
3. Someday My Prince Will Come 4:37
4. Harvest Time 4:47
5. Sonrisa 3:44
6. Manhattan Island 3:56
7. Blue Otani 3:24

Herbie Hancock - Piano

AMG:
"Recorded after the funky fusion of Head Hunters, Thrust, Sextant, and other electric albums, and before the dawn of "Rockit" and more commercially viable and hip-hop-oriented material, Herbie Hancock took time out in 1978 to touch base again with his piano. Recorded completely solo, this set was issued only in Japan as the truly awful Feets, Don't Fail Me Now was issued stateside. A curious set, the first half of the album features Hancock playing jazz standards in truly elegant and restrained fashion. His treatments of "My Funny Valentine," "Green Dolphin Street," and "Someday My Prince Will Come" -- all tracks he performed as part of the Miles Davis Quintet -- are elongated, morphed, and beautifully woven together as a suite. The latter half of the recording is comprised of four tracks, "Harvest Time," "Sonrisa," "Manhattan Island," and "Blue Otani," all of which are originals. These pieces are concerned with Hancock's preoccupation with the piano as a solo instrument. They are composed as formalist treatments that are extrapolated upon at several different junctures, or "turning points," within them. They embody notions of classical music à la Anton Webern, blues, Erroll Garner's lyrical phrasing, and Bill Evans' harmonic sensibilities. They are, in sum, inseparable from one another and are usually performed as a suite. This is a stunning triumph for Hancock, and it's too bad that the album has never been issued in the U.S., as it would undoubtedly be a popular addition to his vast catalog. About the closest one can come are the tracks from here included in The Herbie Hancock Box. Maybe someday."


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1. Mistreating Woman 2:55
2. (She's A) Striker 3:15
3. Fill You In 3:15
4. Need Your Love 3:23
5. Which Way. When for Why 7:52
6. Burnin' 5:27
7. Heartbreaker 4:33
8. Sky Balloon 5:50
9. Ain't Too Soon 4:30

James Thomas Henderson - Vocals
Terry Taylor - Guitar
Nick Graham - Keyboards
Dave Brown - Bass
Chris Johnson - Drums

AMG:
"British hard rockers Tucky Buzzard formed in 1969, and during their five-year career together as a band, featured members David Brown (bass), Paul Francis (drums), Nick Graham (keyboards), Jimmy Henderson (vocals), Chris Johnson (drums), Terry Taylor (guitar), and Paul Kendrick (guitar, vocals). The group is best remembered amongst hardcore Rolling Stones fans for the fact that former Stones bassist Bill Wyman served as producer (and played on) a few of their albums. Tucky Buzzard issued a total of four recordings - 1969's Warm Slash, 1971's Coming on Again, plus a pair of albums in 1973, Alright on the Night and Buzzard - before splitting up."


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1. The Sun Myth 17:53
2. A House of Beauty 4:49
3. Cosmic Chaos 14:48

Sun Ra - piano, tuned bongos and clavioline
Marshall Allen - alto saxophone, piccolo, flute
Pat Patrick - baritone saxophone
Walter Miller - trumpet
John Gilmore - tenor saxophone
Robert Cummings - bass clarinet
Ronnie Boykins - bass
Roger Blank - percussion

AMG:
"Although the "Vol. 2" in the title insinuates some degree of continuity with its predecessor, this is a bit of a misnomer as the only acknowledged connection with The Heliocentric Worlds of Sun Ra, Vol. 1 (the volume number only indicating the order in which they were issued). Due in part to the wider exposure and distribution of the ESP label, enthusiasts and critics were unanimous in their recognition of this masterpiece of free jazz - or, as Ra called it, "space jazz." The Heliocentric Worlds of Sun Ra, Vol. 2 is comprised of three unique compositions: "The Sun Myth," "A House of Beauty," and "Cosmic Chaos." Sun Ra's work with an ensemble often presents a stated emphasis on the percussive nature of solos as well as within the group context. The underlying freeform anti-structure allows defining contrasts that ultimately establish the progressing sonic sculpture. "The Sun Myth" showcases Ra's definitive capabilities to guide his assembled musicians from anywhere within said group. He is heard on this recording initiating improvisational exchanges on tuned bongos - for a portion of the track - rather than from his customary keyboards. The resulting interactions include mesmerizing bass solos from Ronnie Boykins as well as some impassioned alto sax work from Marshall Allen. Directly contrasting the works that surround it is "A House of Beauty." The emphasis shifts, juxtaposing Allen's unfettered piccolo solos with Ra on piano and Robert Cumming on bass clarinet. Of particular note here are Ra's achingly lyrical piano runs and chord progressions, which weave between the light percussion beds and the dominant woodwind section. "Cosmic Chaos" is the final and most archetypal of the ensemble works that Ra and his various Arkestras would produce throughout the '60s. The extended piece begins with rush upon rush of aggressive counterpoint, building into unreserved group crescendos that are likewise punctuated by various woodwind soloists."


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1. Mustt Mustt (Lost in His Work) 5:15
2. Nothing Without You (Tery Bina) 5:04
3. Tracery 4:48
4. The Game 4:59
5. Taa Deem 4:47
6. Sea of Vapours 3:55
7. Fault Lines 4:13
8. Tana Dery Na 4:23
9. Shadow 3:04
10. Avenue 4:51
11. Mustt Mustt [Massive Attack Remix] 4:24

Nusrat Fateh Ali Khan - Vocals
Farrukh Fateh Ali Khan - Harmonium, Vocals
Guo Yue - Flute
Robert Ahwai - Guitar
David Bottrill - Synthesizer, Surdo, Djembe
Michael Brook - Synthesizer, Guitar, Percussion, Surdo
Darryl Johnson - Bass, Piano, Moog Synthesizer
Peter Gabriel - Drums
Dildar Hussain - Tabla
James Pinker - Percussion, Bongos, Drums, Djembe

AMG:
"When the Ayatollah Ruhollah Khomehni banned all music in Iran and declared it to be sacrilegious, his views by no means reflected the outlook of all Muslims. In fact, Islam's Sufi sect believes music to be a sacred and necessary element of spiritual life. Like Hindus, the Sufis passionately encourage meditation, dancing and chanting. Nusrat Fateh Ali Khan is a master of traditional Qawwali, the music of the Sufis. Soulful and hypnotic, Khan's passionate singing on these songs of praise underscores the richness and vitality of Sufi culture. While Qawwali music goes back centuries, the use of synthesizers adds a modern edge to the highly absorbing Mustt Mustt."


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1. Tone Deaf 3:44
2. Veronica High 5:21
3. People Get Ready 5:59
4. You Gotta Be Stoned 1:36
5. Tone Deaf Jam 2:56
6. Streets of Gold 3:05
7. Whole World Is Down on Me 6:56
8. The Whole World Is Sunny Upside Down 3:01

Carol Fitzgerald - Vocals
Willie French Lowery - Lead Guitar, Vocals
Rickey Vannoy - Guitar, Vocals
Bobby Paul - Bass
Forris Fulford - Drums, Vocals

AMG:
"Their sole LP was originally accompanied by a board game that had, as its central objective, the establishment of a worldwide dealership, from which players started out selling marijuana before graduating, eventually, to acid. Unfortunately, that gimmick along with the group's atypical interracial makeup was really the most fascinating attribute of Lumbee's sole album, which was largely a collection of lumbering southern blues-based rock songs with only brief flashes of inventiveness.
Taking its name from a Native American tribe located near Lumberton, NC (their native state), Lumbee began as the wonderfully monikered Plant and See, which released a late-'60s album on the Turtles' record label, White Whale. The makeup of the band was a curious anomaly for the era: leader William French Lowery was of Native American ancestry; his wife and the group's singer Carol Fitzgerald was Scotch-Irish; drummer Forris Fulford was Black; and bassist Ronald Seiger was Hispanic. A single from the album was rising up the charts at the time White Whale folded, ending any chance of the national success it might have had and leaving the band without a record deal and, due to legal ramifications, its band name. With the loss of Seiger and the addition of rhythm guitarist Rick Vannoy and new bass player Bobby Paul, Plant and See regrouped under the name Lumbee in 1970. Soon thereafter they were in the studio cutting Overdose, so named as a tribute to three rock stars (Janis Joplin, Jimi Hendrix, and Jim Morrison) who had recently succumbed to drugs. The album was quite controversial at the time due to its unique doper board game and its cover sleeve, which portrayed children playing said game. A single from the album, "Streets of Gold," rose to the top of various regional charts, and the band played with such well-known acts as the Allman Brothers Band. Shoddy management, however, soon led to disillusionment and eventual dissipation.

Lumbee wasn't, as the opening song on Overdose suggests, tone deaf, but their music wasn't particularly tuneful either, meaning there isn't really anything on this straight CD reissue that you can live without. Even hardcore fans of '70s hard rock will find the songwriting largely undistinguished and the recording surprisingly lacking in excitement. The band seems unable to muster up a high level of energy, and as a result, the songs have a tendency to sink into plodding, Southern blues-by-the-numbers rock. Despite the dynamic multicultural makeup of the band, the music doesn't manage any sort of unique angle or edge, which is a genuine disappointment. The album does have its merits. Lumbee erupts into a sizzling but far-too-brief jazzy break toward the end of "People Get Ready," which segues directly into "You Gotta Be Stoned," a lumbering but tripped-out psychedelic jam. The single, "Streets of Gold," has an inviting, back-to-the-country gait, and Carol Fitzgerald Lowery's hard rock hollering on the strong blues "Whole World Is Down on Me" recalls Janis Joplin, although it can also descend into affectation at times. Each of the other songs has some truly nice bits of interplay and stretches where the band hits upon nice grooves that make you wonder how impressively this music might have come off in a ballroom or club setting. But at only about 33 minutes, it still manages to feel like a bit of an overdose, which certainly isn't the highest recommendation possible."


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1. Ya Annas [Oh, People] 11:10
2. Isma'a [Listen] 9:10
3. El Haris [Anxious] 11:28
4. Farah 'Alaiyna [Joy Upon Us] 6:59

Ahmed Abdul-Malik - Bass, Oud
Johnny Griffin - Sax (Tenor)
Naim Karacand - Violin
Jack Ghanaim - Kanun
Mike Hamway - Darabeka
Bilal Abdurrahman - Duf
Al Harewood - Drums

AMG:
"This CD reissue is an early example of fusing jazz with world music. Abdul-Malik switches between bass and oud; interacts closely with the droning violin of Naim Karacand, Jack Ghanaim's kanoon (a 72-string instrument), and Mike Hamway's darabeka (a percussive drum); and mixes in Al Harewood's drums and (on three of the four selections) the tenor of Johnny Griffin. The music is a qualified success, essentially Middle Eastern folk music with Griffin added in. This set is interesting and, in its own way, innovative but not essential."


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1. It's Been a Long, Long Time
2. Moonglow/Picnic
3. Caravan
4. It Had to Be You
5. Out of Nowhere
6. Avalon
7. Birth of the Blues
8. Someday, Sweetheart
9. 'Deed I Do
10. Lover, Come Back to Me

Les Paul - Guitar
Chet Atkins - Guitar

AMG:
"Chester & Lester is a beautiful and fun album by two masters. It was recorded in the mid-'70s when Chet Atkins was in his fifties and Les Paul was in his sixties. The latter had been in retirement for a decade before the recording of this album. Nashville studio musicians, including Randy Goodrum on piano and Larrie Londin on drums, back up the master guitarists, but this is by no means a country album. In fact, this album swings on classics such as "Birth of the Blues," "Avalon," and "Caravan." Other classic songs, including "It's Been a Long Time" and "It Had to Be You," are beautifully rendered, featuring Les Paul's instantly recognizable ringing bell tone and Chet Atkins' fluid, slightly twangy sound. The recording has an informal feel, with between-song banter (and even some joking in the middle of songs) included on the record, which adds to the enjoyment and warmth of this album. The listener knows that the musicians are having a great time."


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