It's unsurprising that If the Jasmine Don't Get You the Bay Breeze Will, with its six extended folk-rock compositions, bears a strong resemblance to the late-'60s Capitol recordings by Neil himself, as Neil and Martin shared Nik Venet as a producer. The Neil parallels are even less unexpected given that Martin had sung with Neil as a duo in the mid-'60s (they recorded one LP for Elektra). The easygoing but emotional feel of the material and delivery is of a general piece with Neil's, but more laid-back and countrified. The loose, jazzy folk-rock feel of "Yonder Comes the Sun" bears some resemblance to late-'60s Tim Buckley as well. Martin's pleasant, high voice lacks the emotional depth of Neil's, but this remains a pleasant, if low-key, period folk-rock record. The Fred Neil similarity becomes especially prevalent on the concluding "Jasmine," a long, flowing folk-rock jam with hints of raga, much in the manner of some of the lengthier cuts on Neil's pair of Capitol studio albums.
Blind Faith is the self-titled album by the English supergroup Blind Faith, released in 1969 on Polydor Records in the United Kingdom and Europe and on Atlantic Records in the United States. It topped the album charts in the UK and Canada as well as the Billboard 200, even peaking at #40 on the Billboard Soul Albums chart, an impressive feat for an English rock quartet. It has been certified platinum by the RIAA. In addition, Rolling Stone published three reviews of the album in their 6 September 1969 issue, which were written by Ed Leimbacher, Lester Bangs, and John Morthland.
Peps Persson was probably the most important artist in introducing blues to Sweden in the late '60s and early '70s. In 1966, Peps Persson formed the group Downbeat Crowd and released a cover of Muddy Waters' "Got My Mojo Working" as a single. The first LP, "Blues Connection", was released in 1968 on Gazell and the name of the band was now Linkin' Louisiana Peps. The second album "Sweet Mary Jane" under the name Linkin' Louisiana Peps & Blues Quality released in 1969 on Sonet, a label he would keep to for most of his career, and followed a traditional blues and R&B formula.