Whether he gets (enough) credit or not from jazz heads, guitarist George Benson certainly created the template for smooth jazz , with 1975's Good King Bad a perfect example of the style in its infant stages. Benson combines his classy, Wes Montgomery-inspired guitar style with funky material ("Hold On I'm Coming"), yearning balladry ("Cast Your Fate To the Wind"), plush arrangements, and, on one song, buttery vocals for a classic slice of easygoing jazz.
Like the sublimely seedy roadside joints of America’s rural South — where you can shoot pool, buy fishing worms and have your lawnmower repaired all in the same room — Fetchin Bones are dedicated to the sort of unexpected variety that somehow seems to work. On their debut album, the North Carolina quintet peddles an exciting mix of revved-up rock, country twang, folk, blues and swing, driving it all home with unrestrained energy and unpolished charm. The crazed quaver in singer Hope Nicholls’ voice provides the heart of the Bones’ sound; three songs without her lead vocals are the album’s weakest cuts. Producer Don Dixon admirably translates the group’s wild-eyed persona to vinyl, but this is a band that must be seen live for a full grasp of their eclectic frenzy. Delightfully different graduates of the R.E.M.-inspired school of Southern pop. (The CD and cassette add three tracks.)
Essential: a masterpiece of rock music
WHAM BAM THANK YOU MAM
Deeply inspired by the rise and fall of Vince Taylor (whom Bowie incidentally met in 1971). David/Ziggy will mix this story with science-fiction themes, the atmosphere of the star rock system mixing the whole stuff with his androgynous look. Ziggy will appear as such on stage. Intelligent glam rock? Probably.
Marquise Knox recently released his third album, Here I Am, once again recorded at the legendary Blue Heaven Studios in Salina, Kansas. It features Marquise and his band, with a little help from Wayne Sharp of Michael Burk’s band sitting in on B-3 and piano. Nine originals, and three reverent covers of Marquise’s favorite Muddy Waters tunes.
Another addition to the Manhattans' bulging cache of mellow sounds. Gerald Alston, Winnie Lovett, Ernest Bivens and Kenny Kelly made a career of recording romance, heartache and make-out tunes. The popular "We Never Danced to a Love Song" fits in well with their other ballads, as does the majestic "It Just Can't Stay this Way" and "Let's Start All Over Again." They hit the charts with the somewhat contrived "I Kinda Miss You," and the title track, the eloquent "It Feels So Good to Be Loved So Bad" is classic - the harmony is tight and they add a little doo wop for good measure.
Appearing "To France"
Not a masterpiece by any means but I do find "Discovery" underrated 'cause of some pure magical moments.
Excellent addition to any prog rock music collection
This record has many excellent piano and floating mellotron parts. Organ, clavinet and mini moog are also at the rendez-vous.
Donovan’s folky 1965 recordings for Pye Records (they were released in the U.S. by Hickory Records) bear only a superficial resemblance to the more hip pop material he began issuing a year later when he switched to Epic Records.