Eric Burdon & War - The Black Man's Burdon [2CD] (1970)

Year: December 1970 (CD 1986)
Label: Far Out Productions, Inc. (Germany), 827 736-2
Style: Psychedelic Rock, Funk
Country: Long Beach, California, U.S.
Time: 44:43, 45:59
Format: Flac Tracks 16/44,1 kHz
Size: 262, 262 Mb

The Black-Man's Burdon is the second studio album and first double album by American band Eric Burdon and War, released in December 1970 on MGM Records. It was the last album by the group before Burdon left and the remaining band continued as War.
The title is a pun on The Black Man's Burden, an expression which refers to black slavery, used as the title of a book by E. D. Morel (1920) in response to the poem, "The White Man's Burden" (1899) by Rudyard Kipling, which refers to (and champions) western imperialism (including its history of slavery).
The album includes two suites based on songs by other artists: "Paint It Black" by the Rolling Stones, and "Nights in White Satin" by the Moody Blues, augmented by additional sections composed by the group. (Two similar suites appeared on the group's first album.) The extra material is mostly instrumental, except for "P.C. 3" (P.C. referring to Police Constable, a common abbreviation used in the United Kingdom), a risque poem recited (and probably written) by Burdon over the music. Two other songs include a gospel-style chorus credited as Sharon Scott and the Beautiful New Born Children of Southern California. Richie Unterberger of Allmusic says the album is "Composed mostly of sprawling psychedelic funk jams" and "it does find War mapping out much of the jazz/Latin/soul grooves...".
The front cover shows a black man in silhouette, while the back cover shows Burdon and a woman posed together: the woman sitting on a wall with her legs spread far apart, and Burdon (shirtless) resting the back of his head against her pelvis and gripping her ankles. The gatefold photo is somewhat risque, consisting of the group (mostly shirtless) in a field with two nude women lying in the grass.
The album also came with a numbered 7–inch by 3–inch "war bond" entitling the bearer to $1 off the admission of any War concert.
(en.wikipedia.org/wiki/The_Black-Man%27s_Burdon)

01. Black On Black On Black (02:04)
02. Paint It Black (02:04)
03. Laurel & Hardy (01:21)
04. Paint It Black II (01:10)
05. P.C. 3 (01:33)
06. Black Bird (02:13)
07. Paint It Black III (03:02)
08. Spirit (08:34)
09. Beautiful Newborn Child (05:09)
10. Nights In White Satin I (04:28)
11. Birds & The Squirel (02:45)
12. Nuts Seeds & Life (04:01)
13. Out Of Nowhere (03:21)
14. Night In White Satin II (02:52)

01. Sun - Moon (10:07)
02. Pretty Colours (06:47)
03. Gun (05:50)
04. Jimbo (04:54)
05. Bare Back Ride (07:12)
06. Home Cookin' (04:15)
07. They Can't Take Away Our Music (06:51)

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Trapeze (Glenn Hughes) - Trapeze (1970)

Year: May 1970 (CD 1994)
Label: Polygram Records (US), 820 954-2
Style: Progressive Rock, Pop Rock
Country: Cannock, England
Time: 40:37
Format: Flac Tracks 16/44,1 kHz
Size: 197 Mb

Trapeze is the debut studio album by British rock band Trapeze. Recorded in 1969 at Morgan Studios and Decca Studios, it was produced by the Moody Blues bassist John Lodge and released in May 1970 as the second album on Threshold Records, a record label founded by Lodge's band. Trapeze is the band's only album to feature founding member John Jones (vocals, trumpet); both he and Terry Rowley (organ, piano, flute) left shortly after its release. (Rowley rejoined in 1974.)
Unlike the band's later material, which was primarily categorised as blues and hard rock, Trapeze has been described by commentators as a progressive or psychedelic rock album, owing partly to the presence of brass instruments and keyboards on the album. Songwriting was typically led by Jones, Galley and Hughes, with Rowley also co-writing two tracks. "Send Me No More Letters" was released as the only single from the album in 1969, backed with fellow album track "Another Day".
(en.wikipedia.org/wiki/Trapeze_(1970_album))

01. It's Only A Dream (00:44)
02. The Giant's Dead Hoorah! (03:33)
03. Over (03:38)
04. Nancy Gray (02:47)
05. Fairytale - Verily Verily - Fairytale (07:41)
06. It's My Life (02:50)
07. Ami (03:08)
08. Suicide (04:51)
09. Wings (03:30)
10. Another Day (02:37)
11. Send Me No More Letters (04:35)
12. It's Only A Dream - Reprise (00:40)

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Johnny Winter - Johnny Winter And (1970)

Year: September 1970 (CD ????)
Label: Columbia Records (Austria), COL 472769-2
Style: Blues Rock, Hard Rock
Country: Beaumont, Texas, U.S. (February 23, 1944 - July 16, 2014)
Time: 41:42
Format: Flac Tracks 16/44,1 kHz
Size: 254 Mb

 Johnny Winter And... Rick Derringer (vocals, guitar), Randy Jo Hobbs (vocals, bass), Randy Zehringer (drums).

After two late-'60s albums on Columbia, Johnny Winter hit his stride in 1970 working with Rick Derringer and the McCoys, now recruited as his sidemen and collaborators (and proving with just about every note here how far they'd gotten past "Hang on Sloopy"). In place of the bluesy focus on his first two albums, Winter extended himself into more of a rock-oriented mode here, in both his singing and his selection of material. This was hard rock with a blues edge, and had a certain commercial smoothness lacking in his earlier work. Derringer's presence on guitar and as a songwriter saw to it that Winter's blues virtuosity was balanced by perfectly placed guitar hooks, and the two guitarists complemented each other perfectly throughout as well. There wasn't a weak moment anywhere on the record, and if Johnny Winter And wasn't a huge commercial success, it was mostly because of the huge amount of competition at the time from other, equally inspired players, that kept numbers like the Winter originals "Prodigal Son" and "Guess I'll Go Away" as well as Derringer co-authored pieces such as "Look Up" from having the impact they should have had on FM radio.
(allmusic.com/album/johnny-winter-and-mw0000312588)

01. Guess I'll Go Away (03:28)
02. Ain't That A Kindness (03:29)
03. No Time To Live (04:36)
04. Rock And Roll, Hoochie Koo (03:31)
05. Am I Here? (03:24)
06. Look Up (03:34)
07. Prodigal Son (04:18)
08. On The Limb (03:36)
09. Let The Music Play (03:15)
10. Nothing Left (03:30)
11. Funky Music (04:55)

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Curved Air - Air Conditioning [Japanese Ed. SHM-CD] (1970)

Year: November 1970 (CD Apr 8, 2015)
Label: Warner Music (Japan), WPCR 16299
Style: Progressive Rock, New Age
Country: London, England
Time: 45:19
Format: Flac Tracks 16/44,1 kHz
Size: 290 Mb

Air Conditioning, the debut album from Gloucestershire band Curved Air, is widely considered to be one of the pioneering albums of the progressive rock genre. Recorded in July 1970 and released to an unsuspecting public just four months later, this was unlike much of what had been heard previously. Many of the bands that are remembered today as some of the greatest prog bands of all time were yet to unleash something quite as different and out there as Air Conditioning. Genesis' debut had been firmly routed in the 60's pop genre, Pink Floyd were yet to release anything truly incredible and Rush were many years away from releasing their debut. Of all the classic prog albums, only King Crimson had released one yet, in the form of In The Court Of The Crimson King, which would go on to influence Air Conditioning. However, this was a different form of prog rock. Whereas bands like King Crimson focused on shifting their sound up every thirty seconds, Curved Air were more geared towards showing off the significant talent of vocalist Sonja Kristina and were also one of the first rock bands to use a violin which makes for one interesting listen.
(full version: sputnikmusic.com/review/53985/Curved-Air-Air-Conditioning/)

01. It Happened Today (05:02)
02. Stretch (04:06)
03. Screw (04:02)
04. Blind Man (03:35)
05. Vivaldi (07:33)
06. Hide And Seek (06:19)
07. Propositions (03:09)
08. Rob One (03:27)
09. Situations (06:24)
10. Vivaldi With Cannons (01:37)

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Trapeze (Glenn Hughes) - Trapeze (1970)

Year: May 1970 (CD 2015)
Label: Rock Candy Records (UK), CANDY265
Style: Progressive Rock, Hard Rock
Country: Cannock, England
Time: 34:25
Format: Flac Tracks 16/44,1 kHz
Size: 268 Mb

While a far cry from what was to come in later years, the first Trapeze album has a special kind of charm to it- even if it’s scattered at times. Musically, the band were a prog rock outfit in the vein of Jethro Tull and the Moody Blues- while maintaining some of the psychedelic vibes of the late 60s California bands. While this sounds good on paper, the album isn’t necessarily great. Some of the songs drag out while others don’t go anywhere. Still, there’s some solid prog rock tunes here- most of which can be found on the first half of the album. At best, this is a decent album.
(popculturebeast.com/album-review-trapeze-discography-1970-72/)

01. Star Breaker (03:32)
02. It's Alright (04:12)
03. Chances (02:30)
04. The Raid (02:46)
05. Sunny Side Of The Street (02:42)
06. Gimmie Good Love (03:07)
07. Monkey (03:40)
08. I Need You (04:25)
09. Soul Stealer (03:27)
10. Nothing For Nothing (04:00)

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Grateful Dead - American Beauty [MFSL-CD] (1970)

Year: November 1970 (CD Nov 17, 2014)
Label: Mobile Fidelity Sound Lab (US), UDSACD 2138
Style: Folk Rock, Country Rock
Country: Palo Alto, California, U.S.
Time: 42:46
Format: Flac Tracks 16/44,1 kHz
Size: 271 Mb

For once a truly beautiful album cover is more than matched by the record inside. The dead just refuse to keep within any normal limits, and I hope that it stays that way for a long time. Workingman’s Dead was a lovely album, lush, full, and thoroughly real in musical and lyrical content. American Beauty is a joyous extension of the last album. If possible there is even more care on vocal wok. Everyone in the band sings, and sings well alone and together.
A full contentment. The instrumentation is rich with sound that moves through, under, and into the listener. Damn it all, the album is American beauty, of the best possible kind. The positivity of the Dead just can’t be kept down. Look at the cover. “American Beauty” can also be read as “American Reality,” thanks to Mouse Studios. If more of the American reality were this album, we’d all have a lot more to be thankful for.
“Box of Rain” takes plenty of time, and moves surely. The band isn’t in any great hurry. Layers of music weave in seemingly simple patterns - deceptively simple patterns. Phil Lesh’s singing is just right. The chorus is fine: “A box of rain will ease the pain/And love will see you through.” “Believe it if you need it/If you don’t just pass it on.” Praised be Bob Hunter. Countrified Dead is so nice to listen to.
From “Box of Rain” they zip into “Friend of the Devil,” which is a snappy little country number, with some extremely fine bass and acoustic guitar interplay. Jerry Garcia’s voice now makes him a perfect wobbly cowboy.
Pigpen drops by with “Operator.” Pigpen songs are always enjoyable, because they’re Pigpen songs. That would be enough, but they are often good too, which is an added bonus, and this one certainly is good. Pigpen growls as ever.
“Ripple” and “Brokedown Palace” are coupled by a vocal chorus, a little reminiscent of the Mormon Tabernacle Choir, but only in a complimentary sense. The songs meld together and are strongly pretty and sad, as is “Attics of My Life,” which has some very, very nice harmony work.
The two songs that come closest to being rockers on the album are “Till the Morning Comes” and “Truckin.” “Truckin” is just the story of the Dead - going on the road, losing old friends, gaining new ones, trying to keep everybody happy, trying to play some nice music for people, and succeeding on all counts.
The Dead are getting pretty big commercially now, and if ever a band deserved it, it’s them. They have given us all something to treasure with this album. It’s one for now, and one for the kids in 20 years too. American Beauty’s like that, you know.
(rollingstone.com/music/music-album-reviews/american-beauty-127772/) Review by Andy Zwerling. December 24, 1970

01. Box of Rain (05:20)
02. Friend of the Devil (03:25)
03. Sugar Magnolia (03:20)
04. Operator (02:26)
05. Candyman (06:18)
06. Ripple (04:10)
07. Brokedown Palace (04:10)
08. Till the Morning Comes (03:11)
09. Attics of My Life (05:15)
10. Truckin' (05:08)

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Edgar Winter - Entrance (1970)

Year: 1970 (CD 1992)
Label: Epic Records (US), EK 48536
Style: Jazz Rock, Blues Rock, Rock
Country: Beaumont, Texas, U.S. (December 28, 1946)
Time: 47:56
Format: Flac Tracks 16/44,1 kHz
Size: 309 Mb

When blues guitarist Johnny Winter was signed to Columbia Records in 1969 he received a $600,000 advance. It was the richest record deal cut up to that point by any artist in any genre. Johnny had made a few live appearances where he delivered electrifying performances – the news of which spread quickly throughout the industry. He was seen as the next Jimi Hendrix and labels moved quickly to lock him down. His first two albums released in 1969 were backed by a band that included future Double Trouble bassist Tommy Shannon. It also included his younger brother Edgar. Through those studio outings Johnny’s talents were made clear. But it was the support he received from his brother Edgar, who provided keys, alto sax and vocals that Epic Records found difficult to ignore. They signed Edgar in 1970 and from there he set course on his own musical path – one leaning more toward jazz, fusion, and a pop-oriented sound. Johnny would move further and further into the blues.
It’s hard to imagine that Epic knew exactly what they were getting into with Edgar Winter. Entrance is more of an expression that a definable piece of music. While songs are tracked they run into each other like a singular piece of music. The title track opens the record and it’s there where Winter’s vocals and the occasional pop arrangement drew sonic comparisons to Todd Rundgren. Those continue through the record. “Entrance” has a pop sensibility that makes it sound like a forgotten track off of Something Anything. As “Entrance” moves through a number of tempo changes Winter’s incredibly flexible and soul anchored vocals rope everything together and time stamp the material.
It’s followed by a four song bundle that’s jazz drenched. Here drummer Jimmy Gillen sails, Edgar debuts his now well-known shriek, and more importantly rips into some alto sax solos that spill over with fiery runs. They arrive, get to cruising altitude, look around a bit and come to a flashy, bounce heavy landing.
Side 2 opens with a cover of JD Loudermilk’s 1960 hit “Tobacco Road”. Here Edgar is joined by brother Johnny and his band. The signature piece to this song is the closing scream which seems to last all of an hour. It’s the ultimate expression of Edgar’s broad talents. It leaves you wondering if there is anything that this guy can’t do. While he is clearly more moved by jazz, he can still lay down the blues with the best of ‘em. That’s the case here as it is with “Back In The Blues”, a smooth slinky shuffle. The tune checks all of the boxes that make every other song on this record shine so brightly. It also affords one more moment for brother Johnny to shine - this time on some tasty harmonica parts.
(full version: goldminemag.com/columns/vinyl-finds/edgar-winters-solo-entrance/)

01. Winter's Dream: Entrance (03:29)
02. Where Have You Gone (02:40)
03. Rise to Fall (04:04)
04. Fire and Ice (06:52)
05. Hung Up (03:00)
06. Back in the Blues (02:17)
07. Re-Entrance (02:30)
08. Tobacco Road (04:10)
09. Jump Right Out (04:22)
10. Peace Pipe (04:42)
11. A Different Game (05:04)
12. Jimmy's Gospel (04:41)

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The Groundhogs - Thank Christ For The Bomb (1970)

Year: May 1970 (CD 1990)
Label: BGO Records (UK), BGOCD67
Style: Blues Rock, Classic Rock
Country: England
Time: 41:03
Format: Flac Tracks 16/44,1 kHz
Size: 263 Mb

Thank Christ for the Bomb is the third studio album recorded by The Groundhogs, originally released by Liberty Records in 1970. It was engineered by Martin Birch, who had previously worked on albums by Deep Purple, Jeff Beck, Fleetwood Mac and Peter Green. It entered the UK Melody Maker album charts at number 27 on 20 June 1970, and had a total of 3 entries in that chart.
The album is a concept album, or to be exact, has two concepts. Side 1 (tracks 1–4) addresses what McPhee termed "alienness" while side 2 is, according to the sleeve notes, "the story of a man who lived in Chelsea all his life; first in a mansion then on the benches of the embankment".
(en.wikipedia.org/wiki/Thank_Christ_for_the_Bomb)

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

01. Strange Town (04:18)
02. Darkness Is No Friend (03:46)
03. Soldier (04:51)
04. Thank Christ For The Bomb (07:18)
05. Ship On The Ocean (03:29)
06. Garden (05:22)
07. Status People (03:34)
08. Rich Man, Poor Man (03:27)
09. Eccentric Man (04:55)

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Ringo Starr (The Beatles) - Sentimental Journey (1970)

Year: 27 March 1970 (CD 1995)
Label: Capitol Records (US), CDP 0777 7 98615 2 1
Style: Pop Rock, Rock
Country: Liverpool, England (7 July 1940)
Time: 34:01
Format: Flac Tracks 16/44,1 kHz
Size: 199 Mb

By the end of the 1960s, it was no longer a question of if The Beatles would explore solo ventures-it was merely a matter of when. The internal strains were well-documented, and it seemed inevitable that each of the four would begin sketching out their post-Beatle identities. For Lennon, it was political provocation and primal confession. For McCartney, domestic charm and soft experimentation. For Harrison, spiritual depth and guitar-driven grandeur. And for Ringo Starr-arguably the least musically prolific of the quartet-it was... an album of 1940s standards.
Sentimental Journey, released in 1970, was a puzzling choice. While the title and cover (a photograph of the Liverpool pub where Ringo was born above) clearly aimed for nostalgic intimacy, the project felt curiously out of step-not only with the moment, but with Starr’s own emerging post-Beatle persona. It was, by any measure, an odd debut: a collection of big-band-era songs more associated with parental record collections than with the countercultural revolution The Beatles had helped spark.
The decision might have been defensible if it had been framed as kitsch or recontextualization, but Starr approached the material with sincerity. Unfortunately, sincerity could not compensate for vocal limitations. Ringo, always a charming and reliable Beatle, was never a singer of great range or interpretive power. And these songs-iconic, melodically rich, and deeply associated with legendary vocalists-required both.
The arrangements, it must be said, are competently executed. The record enlisted multiple high-profile producers and arrangers, including George Martin, Quincy Jones, and Paul McCartney himself. Each track was tailored to a different musical team, yet the results somehow feel homogenous-pleasant but lifeless. One is left with the impression that the sessions were arranged first, and Ringo’s vocals added later as an afterthought.
The material itself is largely untouchable: Night and Day, Blue, Turning Grey Over You, Stardust. But familiarity is a double-edged sword. These songs carry weight, and unless a singer can bring something revelatory-or at the very least, charmingly idiosyncratic-the risk is that they collapse under their own history. Starr, with his good-natured but flat delivery, simply can’t elevate them. The record, while well-intentioned, feels less like a sentimental journey and more like a polite detour.
(full version: clemsmusicreviews.com/ringostarr/sentimentaljourney.html)

01. Sentimental Journey (03:28)
02. Night And Day (02:26)
03. Whispering Grass (02:39)
04. Bye Bye Blackbird (02:12)
05. I'm A Fool To Care (02:39)
06. Stardust (03:25)
07. Blue Turning Grey over You (03:20)
08. Love Is A Many Splendored Thing (03:07)
09. Dream (02:42)
10. You Always Hurt The One You Love (02:20)
11. Have I Told You Lately That I Love You (02:44)
12. Let The Rest Of The World Go By (02:54)

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Grateful Dead - Workingman's Dead [MFSL-CD] (1970)

Year: June 14, 1970 (CD Nov 20, 2014)
Label: Mobile Fidelity Sound Lab (US), UDSACD 2137
Style: Folk Rock, Country Rock
Country: Palo Alto, California, U.S.
Time: 36:04
Format: Flac Tracks 16/44,1 kHz
Size: 205 Mb

Looking at the sepia tone album cover of the Workingman’s Dead 50th Anniversary Deluxe Edition, I give away my age when I say I remember my older brother having the original on 8-Track tape back when it came out in 1970. I remember my seven-year-old brain being somewhat mortified of it because the men pictured on the cover looked like zombies to me ( which I attribute to the old-timey feel of the photo and the post – Night of the Living Dead mania of the day).
My fear didn’t last long, however. It subsided one day when my brother was not at home and I put the tape in his trusty Pioneer player and listened to the eight songs on the album.
I remember thinking during that clandestine listening session that the band sounded a lot like some of the other bands that my older sibling listened to like CCR or CSNY. What set them apart, however, was that unlike a lot of the other bands of the day, they sounded like they were actually having fun playing their instruments and singing. That impression has never left me.
Fifty years later as I listen to the same songs and pick up on some of the weighty themes of the record – the working life, the nature of existence, maintaining hope amidst despair, and staring down death, I still hear an exuberant undercurrent of love and compassion coming from the Grateful Dead’s music that continually sets them apart for me in the world of rock and roll bands. 
I still hear their love for music for music’s sake, but now I also additionally hear an affection for their musical forefathers and influences, for life itself, and for their fans. It is a love that literally pours out of the speakers when their songs are playing and is a love that helps explain the existence of an unprecedented and unmatched fanatical fanbase decades later.
The eight songs on Workingman’s Dead features the band displaying their amazing ability to synthesize elements from Bluegrass, Folk, Country, Blues, Jazz, Dylan’s early electric songs, and sixties rock and roll to masterfully forge a distinctly original sound of their own.
That all of these songs still sound fresh and lively now after a half-century has passed is a testament to the prodigious individual and collective talents of the band.
(americanahighways.org/2020/07/14/review-the-grateful-deads-workingmans-dead-is-still-quintessential-listening-50-years-later/)

01. Uncle John's Band (04:47)
02. High Time (05:15)
03. Dire Wolf (03:16)
04. New Speedway Boogie (04:09)
05. Cumberland Blues (03:18)
06. Black Peter (05:46)
07. Easy Wind (05:00)
08. Casey Jones (04:29)

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Neil Young - After The Gold Rush [Japanese Ed. SHM-CD] (1970)

Year: September 1970 (CD Dec 10, 2008)
Label: Warner Music (Japan), WPCR-13241
Style: Folk Rock, Country Rock
Country: Toronto, Ontario, Canada (November 12, 1945)
Time: 35:15
Format: Flac Tracks 16/44,1 kHz
Size: 253 Mb

The album opens with three of its quieter songs, highlighted by the piano-led title track in which Young demonstrates just how perfectly he can generate melancholy with his voice. Soon after comes "Southern Man," which is Crazy Horse at their finest. This is one of the most furious, apocalyptic songs that Neil ever put out, and also one of his best. His trademark solo style is in full effect, playing off of a pounding piano line.
"Southern Man" is a brief diversion in sound, but it fits the overall tone because, like every good Neil Young song, it has something to say. And every one of these songs has something to say--or at least feels like it. Whether the instrumentation is bare or Young is using the full Crazy Horse band, every song on After the Gold Rush feels important. It doesn't matter if Young is being introspective or socially critical, he demands that you listen to him. Nobody sounds like they've had as much life experience and wisdom as Neil Young does, even if he was only 24 when he recorded this album.
These days I still feel like I respect Neil Young more than I enjoy him. I don't care for the country and folk music that he so obviously embraces. But it's almost impossible to listen to an album like After the Gold Rush and not hear his genius, even if "Southern Man" and "When You Dance You Can Really Love" are the only two songs that fit my general listening habits. It's only my fifth-favorite album of 1970 and it gets the 4.0 rating that I bestow upon the majority of music that I enjoy, but in an attempt to speak objectively, After the Gold Rush is not only at the very top of 1970, but one of the greatest albums of the decade. A mandatory listen for anyone who appreciates rock music in general.
(sputnikmusic.com/review/62604/Neil-Young-After-the-Gold-Rush/)

01. Tell Me Why (02:59)
02. After The Goldrush (03:46)
03. Only Love Can Break Your Heart (03:08)
04. Southern Man (05:32)
05. Till The Morning Comes (01:20)
06. Oh, Lonesome Me (03:50)
07. Don't Let It Bring You Down (02:57)
08. Birds (02:33)
09. When You Dance You Can Really Love (04:05)
10. I Believe In You (03:27)
11. Cripple Creek Ferry (01:34)

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May Blitz - May Blitz [Japanese Ed. SHM-CD] (1970)

Year: 1970 (CD Oct 27, 2010)
Label: Universal Music (Japan), UICY-94682
Style: Hard Rock, Heavy Metal
Country: England
Time: 43:12
Format: Flac Tracks 16/44,1 kHz
Size: 272 Mb

May Blitz was a Canadian-British hard rock power trio that was active in the early 1970s.
The group was formed in 1969 by bassist Terry Poole and drummer Keith Baker, the rhythm section of the blues-rock trio Bakerloo, both of whom left the group when guitarist Clem Clempson departed to join Colosseum. Jamie Black joined the group on vocals and guitars but both Poole and Baker left the group before it recorded, Poole and Baker joining Vinegar Joe and Uriah Heep respectively. Black then added fellow Canadian Reid Hudson on bass and Tony Newman, who had played with Jeff Beck, The Hollies and Sounds Incorporated, on drums.
After playing UK pubs, the group signed with Vertigo Records (in the US they were on Paramount Records) and released their debut album in 1970. A second album followed in early 1971, but due to lack of commercial success the trio disbanded in late 1971. Black and Hudson, both originally from Canada, returned to their native country while Newman joined Three Man Army, founded and led by the Gurvitz brothers, Adrian and Paul. Newman later went on to a long career as a session drummer, including for David Bowie, Donovan, and George Harrison, and others.
(en.wikipedia.org/wiki/May_Blitz)

01. Smoking The Day Away (08:23)
02. I Don't Know? (04:52)
03. Dreaming (06:45)
04. Squeet (06:56)
05. Tomorrow May Come (04:52)
06. Fire Queen (04:17)
07. Virgin Water (07:04)

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The Flock - Truth - The Columbia Recordings 1969-1970 [2CD] (2017)

Year: 1969-1970 (CD 2017)
Label: Esoteric Recordings (Europe), ECLEC 22606
Style: Jazz Rock, Progressive Rock
Country: Chicago, Illinois, U.S.
Time: 65:30, 65:19
Format: Flac Tracks 16/44,1 kHz
Size: 410, 436 Mb

The Flock was an American, Chicago-based jazz rock band, that released two albums on Columbia Records in 1969 (The Flock) and 1970 (Dinosaur Swamps). The Flock did not achieve the commercial success of other Columbia jazz-rock groups of the era such as Chicago and Blood Sweat & Tears, but were recognized for featuring a violin prominently in their music. The violinist, Jerry Goodman, went on to become a member of Mahavishnu Orchestra and a solo artist. They also received some exposure with their release of a cover of The Kinks' "Tired Of Waiting For You" as a single in April 1970.
The Flock had three early singles on Destination Records and one on USA Records, local Chicago labels, recorded between 1966 and 1968. Goodman was not in this line-up but worked as a roadie with the band. All four singles, "Can't You See (That I Really Love Her)", "Are You The Kind", "Take Me Back" and "What Would You Do If The Sun Died?" are available on CD.
The promising first album was further into jazz fusion than either Chicago or Blood Sweat & Tears, influenced by Miles Davis' Bitches Brew album, in which Webb participated, but whose performance was not recorded. The first album was produced by Grammy Award winning producer of jazz and classical albums for Columbia Records John McClure. with liner notes written from the audience at Whisky a Go Go by John Mayall, on July 9, 1969. The band went back into the studio and recorded a second album entitled Dinosaur Swamps, (with Jon Gerber replacing Tom Webb) featuring the hit, "Big Bird." They began work on a third studio album, provisionally titled Flock Rock, but rumours at the time had Columbia Records' Clive Davis raiding The Flock and recruiting Goodman for the Mahavishnu Orchestra project. Glickstein's remembrance of the event was, according to the sleevenotes with The Flock compilation CD Truth, slightly more matter-of-fact: "In reality the band members started going in different musical directions. You know. That old song."
(en.wikipedia.org/wiki/The_Flock_(band))

01. Introduction (04:53)
02. Clown (07:45)
03. I Am the Tall Tree (05:34)
04. Tired of Waiting (04:39)
05. Store Bought - Store Thought (07:00)
06. Truth (15:24)
07. What Would You Do If the Sun Died? (02:48)
08. Lollipops And Rainbows (04:05)
09. Tired of Waiting (Single Version) (02:42)
10. Store Bought - Store Thought (Single Version) (02:44)
11. Clown (Part One) (03:12)
12. Clown (Part Two) (04:38)

01. Green Slice (02:03)
02. Big Bird (05:50)
03. Hornschmeyer's Island (07:25)
04. Lighthouse (05:18)
05. Crabfoot (08:14)
06. Mermaid (04:53)
07. Uranian Sircus (07:13)
08. Chanja (02:38)
09. Atlantians Truckin’ Home (04:50)
10. Afrika (04:34)
11. Just Do It (06:35)
12. Mermaid (Single Version) (02:49)
13. Crabfoot (Single Version) (02:49)

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Robert Wyatt (ex Soft Machine) - The End Of An Ear (1970)

Year: 4 December 1970 (CD 1999)
Label: Columbia Records (Austria), 493342 2
Style: Free Jazz, Avant-garde
Country: Lydden, Kent, England (28 January 1945)
Time: 47:01
Format: Flac Tracks 16/44,1 kHz
Size: 258 Mb

In the glorious machine-powered future, we can look forward to AI-created music conceived “in the style of Robert Wyatt” and nod approvingly as a jumble of drums, horns and piano come tumbling from our computer speakers. In the drug-fueled past, of course, we had to make due with the electrical connections contained in our own craniums. Metal or soft machine is splitting hairs, you may say, and I (with none of my own to split) might argue otherwise, but we are the true author of neither. Music like this exists because it must, because the rules of chaos dictate that even clouds will occasionally take the perfect form of a cat, and that even whacked-out moles like Robert Wyatt will discover genius in chaos (or that chaos will discover the genius in Robert Wyatt).
The End of an Ear begins and ends with Wyatt’s bizarre interpretation of Gil Evans’ Las Vegas Tango. Wyatt largely replaces the horns with gibberish, creating a strange tapestry of sound that comes surprisingly close to the original while at the same time seeming nothing like it. The remaining “songs” feature the same instrumentation—drums, horns, keyboards, bass, voice—that take Wyatt’s dadaism to new heights (depths?). Frank Zappa made music like this, only he made it on purpose. Wyatt is less rigid, though perhaps no less intentional. Sometimes, The End of an Ear sounds like music. To Saintly Bridget is alien space jazz. To Carla Marsha and Caroline is simultaneously melodic and oddly disquieting. To Caravan and Brother Jim starts out relatively normal before becoming enveloped in cryptic cacophony. I’m not sure what Columbia thought they had signed on for with this album, but that they didn’t sign up for a sequel probably says a lot. Wyatt’s first solo album has all the earmarks of a contract breaker. More likely, he was letting off steam as Soft Machine devolved into a “normal” jazz fusion band (the quotes implying normal relative to the strange world of Soft Machine). If you’re into Zappa’s stranger experiments or just enjoy listening to a Dadaist drummer thumb his nose at the world for forty minutes, The End of an Ear could be the beginning of a beautiful relationship. It’s not for everyone, and possibly not for anyone (despite its dedications), but in a world where art can now be condensed into a set of algorithms, it’s refreshing to hear someone making music while breaking so many rules.
(progrography.com/robert-wyatt/review-robert-wyatt-the-end-of-an-ear-1971/)

01. Las Vegas Tango Part One (Repeat) (08:13)
02. To Mark Everywhere (02:26)
03. To Saintly Bridget (02:21)
04. To oz Alien Daevyd And Gilly (02:09)
05. To Nick Everyone (09:12)
06. To Caravan And Brother Jim (05:20)
07. To The Old World (Thank You For The Use of Your Body, Goodbye) (03:17)
08. To Carla, Marsha And Caroline (For Making Everything Beautifuller) (02:47)
09. Las Vegas Tango Part 1 (11:13)

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