Brilliant music from trombonist Shigeharu Mukai – an artist who was not only a hell of a soloist in the 70s, but also a great musical visionary – with an ear that makes records like this a lasting treasure! The album features three long tracks – each a small sort of painting in sound – still with a soulful swing that keeps things moving, but filled with rich ideas that come not just from Mukai's trombone, but from the assemblage of musicians that join him for the date. At a time when records like this could be overindulgent or just too darn loose in some folks' hands, Mukai manages to hold the whole thing together with this lyrical brilliance – in extremely evocative ways that never get old.
Essential: A masterpiece of Progressive-Folk music
The Young Tradition was formed on 18 April 1965 by Peter Bellamy (8 September 1944 – 19 September 1991), Royston Wood (born 1935 died 8 April 1990) and Heather Wood (born Arielle Heather Wood, 31 March 1945, Attercliffe, Sheffield, Yorkshire) (who was unrelated to Royston Wood). Most of their repertoire was traditional British folk music, sung without instrumental accompaniment, and was drawn especially from the music of the Copper Family from Sussex, who had a strong oral musical tradition. They augmented the pure folk music with some composed songs which were strongly rooted in the English folk tradition, such as sea shanties written by Cyril Tawney, of which “Chicken on a Raft” was the most notable.
Just a few words about this 2017 40th Anniversary release of the classic "Two Sevens Clash" album. This is one of the greatest albums ever released by a Jamaican vocal trio and one of the best albums ever released in the Jamaican reggae genre. Culture, with leader Joseph Hill, is one of the best vocal trios from Jamaica. Just listen to the harmonies and you'll understand.
Poco’s biggest-selling album of all time also presented the biggest personnel change at one time for the then-decade-old group, whose lineup had hardly been a model of stability up to that time. Co-founding drummer/singer George Grantham and longtime bassist/singer Timothy B. Schmit were both gone, the latter off to the Eagles. Listening to parts of this album, one gets the sense that, with the arrival of Charlie Harrison (bass, harmony vocals) and Steve Chapman (drums) in the group, Poco was deliberately adopting a change in sound similar to what the Eagles went through when Joe Walsh joined, into much harder rocking territory, at least part of the time.
Essential: a masterpiece of progressive rock music
“Aqualung” isn’t only a great album, it’s somehow a feel of live from the early 70’s. Maybe not as ambitious and essential in progressive rock terms as “Thick As A Brick”, but in terms of folk prog an absolute masterpiece concept record, too. I always feel like I am travelling back in the 70’s when I listen to classic tracks like “Locomotive Breath”, “Cross-Eyed Mary”, “Mother Gose” or the title track.
A really cool bit of bossa jazz from reedman Buddy Collette – an artist who's not as well associated with the genre as Stan Getz or Paul Desmond – but who really cooks nicely here! The setting is relatively lean and groovy – with guitar from Howard Roberts, bass from Mel Pollan, and percussion from Leo Acosta and Darias – both of whom bring a nice sort of west coast vibe to the set, one that's different from some of the Verve bossa modes of the time. Jim Helms handled the arrangements, with a nice airy sort of mode – and Buddy plays both tenor and flute, on titles that include "Nao Pode Ser", "Porque De Moras", "A Pele Do Marfin", "A Meie Noite", "Samba Da Tartaruga", and "Amor Levado".
Pongo en tus manos abiertas… is the fourth studio album by the Chilean singer-songwriter Víctor Jara as a soloist, one of the most important representatives of the New Chilean Song. It was recorded during 1969, and published that same year by the record label Jota Jota (later DICAP). The album has been reissued several times and in different countries, changing its name in some versions to that of Te recuerdo Amanda.
Excellent addition to any Prog-Rock music collection
Really good follow up to Heavy Horses despite all the difficulty surrounding the band, and reminds us not only how prolific and accomplished Ian Anderson is, but the impact Jethro Tull’s music has had on everything from folk rock and pop to minstrel metal and symphonic cheese. It doesn’t chart much new territory, the songs resembling classic Anderson shanties more than something thematic, leaner than previous work and though not outstanding like Horses, it’s one of those albums that catches you off-guard with the quality of the material. Thanks, Ian, for being there in hard times and good.
THE BYRDS “BYRDS” (’73 REUNION)
The announcement of the reunion album featuring all five original Byrds raised expectations to the point where whatever emerged was almost bound to be an anticlimax. (Imagine the effect of the Beatles reforming around the same time, if you will.) Despite a general thumbs-down from the critics, fan loyalty and eager anticipation made the new long-player highly successful at the record store: in the States, the biggest-selling new-material Byrds album since Turn, Turn, Turn. Subsequent reviews expressed varying degrees of disappointment, but recent re-evaluation with almost forty years of hindsight portrays the project as fascinating historically and not without merit artistically. Interest in it has never waned and it’s been re-released on CD no fewer than four times. The Wikipedia article on it is almost a book.