This was Iva Davies return from courtroom hell with former label Chrysalis. Someone should annoy Davies more often, because the result is the most energizing, electric music of his career. From their opener, Icehouse – essentially the trio of Davies, Paul Wheeler, and David Chapman – treat us to a frenzy of guitars, loops, filmic links, and drumming likened to John Bonham. Though lyrically weak, the title song bounces along in jolly mode. Bowie affiliations come again in the form of "Satelite" and "Stolen Guitar." "Judas" and "Cadillac" are more stodgy but still rock; the latter is similar to the more recent Suede material. The album initially came with a computer disc – the first interactive disc in Australian rock history – while others came as standard with the Spin One EP attached, which leads nicely to its parent album.
French jazz pianist Martial Solal's American recording debut took place at the 1963 Newport Jazz Festival, with his set recorded and initially released by RCA Victor, though it was deemed too short for release, so a few numbers recorded during his afternoon rehearsal were added to lengthen the album, with applause duplicated from other numbers. Joined by Bill Evans' former rhythm section, bassist Teddy Kotick and drummer Paul Motian (who also made up his trio during an extended gig at New York City's Hickory House prior to Newport), Solal blends Art Tatum-like runs with an inherent lyrical side in a decidedly advanced bop setting. In addition to his enjoyable arrangements of standards and timeless jazz compositions, his extended work "Suite Pour Une Frise" also merits praise. In spite of a CD reissue by Cloud 9 in 2004, this is still a rather difficult release to acquire.
This double-CD set is essential listening – not just for Downliners Sect fans, but for anyone who's ever worn out copies of any of the first three Rolling Stones albums or owns anything by the Yardbirds, the Pretty Things, Them, the Graham Bond Organisation, the Animals, early John Mayall, the Shadows of Knight, or any of countless blues-inspired American garage bands. In content, it's approximately equivalent to Charly's Yardbirds Ultimate Collection, encompassing the complete contents of the Downliners Sect's three original LPs, from the bluesy "Baby, What's Wrong" to the pounding, proto-psychedelic "Glendora." Thus, listeners don't get the EP and demo tracks "Cadillac," "Roll Over Beethoven," "Beautiful Delilah," or "Shame Shame Shame," and "I Can't Get Away from You" and "Roses" are also missing from the other end of their history – all of which are present, along with a lot else, on See for Miles' Definitive Downliners Sect: The Singles A's & B's, which is the perfect complement to this set.
Gil Scott-Heron's 1971 album Pieces of a Man set a standard for vocal artistry and political awareness that few musicians will ever match. His unique proto-rap vocal style influenced a generation of hip-hop artists, and nowhere is his style more powerful than on the classic "The Revolution Will Not Be Televised." Even though the media – the very entity attacked in this song – has used, reused, and recontextualized the song and its title so many times, the message is so strong that it has become almost impossible to co-opt. Musically, the track created a formula that modern hip-hop would follow for years to come: bare-bones arrangements featuring pounding basslines and stripped-down drumbeats. Although the song features plenty of outdated references to everything from Spiro Agnew and Jim Webb to The Beverly Hillbillies, the force of Scott-Heron's well-directed anger makes the song timeless. More than just a spoken word poet, Scott-Heron was also a uniquely gifted vocalist. On tracks like the reflective "I Think I'll Call It Morning" and the title track, Scott-Heron's voice is complemented perfectly by the soulful keyboards of Brian Jackson.