Roger McGuinn's 1973 self-titled solo debut was in most respects a breath of fresh air after the final days of the Byrds, in which the group was floundering in directionless mediocrity. In a sense, it's a back-to-basics album that emphasizes much of what McGuinn does so well: his forceful reedy vocals, his guitar playing, and his skills at both writing earnest folk-rock material (usually with future Bob Dylan collaborator Jacques Levy here) and interpreting unusual traditional and contemporary songs.
In the early seventies, the British-American group Carmen broke new ground in rock music, combining the British flair for progressive rock with traditional Spanish folk themes into a very fresh, energetic and powerful new mix. The sound is centered around guitar, keyboards are used subtly but to good effect. On the whole, they are a rather hard band to describe… Some vague comparisons could be made to Jethro Tull, Mezquita (some of the Spanish themes), and Triana (the flamenco/prog combination).
Secret Oyster became somewhat of a super group when members of Burnin Red Ivanhoe, Coronarias Dans and Hurdy Gurdy formed this unit. By the end of Burnin Red Ivanhoe's career (that spawned seven years), Karsten Vogel started forming a new band taking along with him BRI's drummer Thrige and often jazz-partner bassist Vinding with him. Knowing from the Danish circuit guitarist Claus Bohling, he enticed him into the band that took its name from a track from BRI's second album Secret Oysters Service. The last to join was keyboardist Knudsen, who had never played an electric instrument prior to entering this outfit, but was playing in a piano avant-garde trio…
Head Hunters was a pivotal point in Herbie Hancock's career, bringing him into the vanguard of jazz fusion. Hancock had pushed avant-garde boundaries on his own albums and with Miles Davis, but he had never devoted himself to the groove as he did on Head Hunters. Drawing heavily from Sly Stone, Curtis Mayfield, and James Brown, Hancock developed deeply funky, even gritty, rhythms over which he soloed on electric synthesizers, bringing the instrument to the forefront in jazz.
is an album by American singer-songwriter , released in 1973. At the time of its release, it only reached #6 on the Billboard album chart, but has remained highly regarded by her fans over the ensuing decades. Presented as a sort of song cycle, the album opens and closes with two versions of the title song and the songs on each side segue directly into one another. The Spanish language track (the Spanish word for "heart," also used as a term of endearment, as in this song's lyrics) was a moderate hit single from the album, as was The flip side of the latter single, (not the hit), charted separately from its A-side.
Remastered in 24-bit from the original master tapes. Part of our Keepnews Collection, which spotlights classic albums originally produced by the legendary Orrin Keepnews. The 1974 release of this album on the Fantasy group's Milestone label created an instant impact and launched one of the most exciting and tempestuous vocalists of the decade. Flora Purim and her husband, the brilliant percussionist Airto Moreira, had been part of Chick Corea's "Return to Forever" band, and Airto had gained much attention with Miles Davis, but this record combined their Brazilian rhythms for the first time with the "fusion" jazz of players like George Duke and Stanley Clarke. The result was a high-energy music of enormous appeal.
Stone the Crows was a tough-luck, working class, progressive soul band that came out of the pubs of Scotland in the early '70s. They had everything going for them at the start: not one, but two gritty singers, a talented guitarist, a rhythm section that had played with John Mayall, and the name recognition of having Led Zeppelin manager Peter Grant as their producer. Despite favorable reviews by the critics, however, they never managed to sell their hybridized soul music to a large audience.