One of the most subtly satisfying electric blues albums of the '70s. Fenton Robinson never did quite fit the "Genuine Houserocking Music" image of Alligator Records – his deep, rich baritone sounds more like a magic carpet than a piece of barbed wire, and he speaks in jazz-inflected tongues, full of complex surprises. The title track hits with amazing power, as do the chugging "The Getaway," a hard-swinging "You Say You're Leaving," and the minor-key "You Don't Know What Love Is." In every case, Robinson had recorded them before, but thanks to Bruce Iglauer's superb production, a terrific band, and Robinson's musicianship, these versions reign supreme.
A sort of supergroup, as most of their members came from well-known bands, Samadhi were formed after the split of Raccomandata con Ricevuta di Ritorno by singer Regoli and guitarist Civitenga, along with keyboard player Sabatini (from Free Love and Kaleidon), Aldo Bellanova from Teoremi on bass and drummer Ruggero Stefani (L'Uovo di Colombo), and two other members. Despite the impressive pedigree of the musicians the album is nice, mixing good prog influences with some jazz and even pop, the best of the seven tracks being the closing "L'ultima Spiaggia" with religious text. The beautiful lyrics were written by poet Enrico Lazzareschi.
To mark the 50th anniversary of the release of the first Ten Years After album in 1967, Chrysalis records are releasing a very special box set – “The albums 1967 – 1974”. As the name suggests it includes the nine albums released in that time period, and it also contains a CD of previously unreleased material…
Come a Little Closer is a surprisingly effective mating of a distinctive singer with seemingly incongruous material and production. Helmed by Gabriel Mekler, who'd produced Steppenwolf and Three Dog Night, the record features Etta James supported by a slew of hotshot L.A. session men (including Little Feat's Lowell George). The song selection ranges from "St. Louis Blues" to Randy Newman's perverse "Let's Burn Down the Cornfield" to the dramatic, melismatic "Feeling Uneasy," in which the junk-hungry James improvised wordlessly over an otherwise blues progression. Here's more evidence that Etta is one of the most versatile vocalists of her era.