CAROL WILLIAMS, from Montclair, New Jersey, was the first female singer to sign a solo recording contract with the legendary disco label Salsoul Records. With Williams vocal audition trumping all other hopefuls, allied with her extensive experience in the industry due to being an integral member of soul groups The Geminis and The Del-Rios, she was the obvious choice for the label who were looking for their equivalent of Gloria Gaynor who was riding high at the time with the success of her disco smash “Never Can Say Goodbye.” Williams soon got to work with legendary producer and multi-instrumentalist Vincent Montana, Jr. and his incredible Salsoul Orchestra, contributing not only several track selections but also co-writing three of the cuts on her debut offering.
At the same time that Neville 'Bunny Wailer' Livingston recorded his debut solo long playing masterpiece, 'Blackheart Man', he was also creating a series of singles for his own Solomonic label. These records were every bit as good, at times even better, but they have never been released outside of Jamaica. Until now…
Between 1976 and 1979, Jimmy McGriff was often featured in the disco-style productions of Groove Merchant house arranger Brad Baker. The records usually surrounded the great organist with a huge army of studio musicians, big horn sections, string parts and often heard McGriff playing keyboards other than organ. THE MEAN MACHINE, from 1976, was the first of these productions and McGriff doesn't even play organ here.
If Eternal Rhythm was Don Cherry's world fusion masterpiece of the '60s, then Brown Rice is its equivalent for the '70s. But where Eternal Rhythm set global influences in a free jazz framework, Brown Rice's core sound is substantially different, wedding Indian, African, and Arabic music to Miles Davis' electrified jazz-rock innovations. And although purists will likely react here the same way they did to post-Bitches Brew Davis, Brown Rice is a stunning success by any other standard. By turns hypnotic and exhilarating, the record sounds utterly otherworldly: the polyrhythmic grooves are deep and driving, the soloing spiritual and free, and the plentiful recording effects trippy and mysterious.
Excellent addition to any prog rock music collection
One of South America’s better groups, El Reloj had an all too brief recording 70’s career and just two albums, their debut being in a much harder rock vein in the Purple line. This one is much proggier and is in my top ten South American records. Just like its predecessor’s reissue, the album starts out with bonus tracks (which I always found rather unsettling and non-respectful of the album itself. Fortunately this occurrence is rare enough in prog (I can only think of Germany’s Parzival with an even stranger set up where bonus tracks bookend the album tracks.
A Night on the Town is Rod Stewart's seventh album, released in 1976. On 30 June 2009, Rhino reissued the album as a two-disc CD with bonus tracks. Stewart performed "Big Bayou" regularly with The Faces during their final US tour the previous year, although that version was based on the one Ronnie Wood released on his solo album, Now Look. A Night on the Town was Stewart's last UK number-one album until Time in 2013.