The sole album from this fantastic band is one of the best overlooked folk-progressive rock recordings of the late 6o's. This London-based group had just one actual British member, the rest of the musicians hailing from Norway, Australia, and Canada. This wonderful and truly fascinating album is a combination of strong original material, male-female vocal harmonies, deftly textured mixes of electric and acoustic guitars, tasteful orchestration and soaring bittersweet melodies. Unfortunately, the band broke up in late 1969 and soon after Lucas and Conway formed the rhythm section of Fotheringay. Rosen later played with Mogul Thrash and Hultgreen joined the band Sailor. This deﬁnitive edition has been expanded with many rare & unreleased tracks.
Notwithstanding one or two isolated exceptions, it wasn’t until the mid-Sixties that independent female voices really began to be heard within the music industry. The feminist movement naturally coincided with the first signs of genuine musical emancipation. In North America, Joan Baez and Buffy Sainte-Marie emerged through the folk clubs, coffee-houses and college campuses to inspire a generation of wannabe female singers and musicians with their strong, independent mentality and social compassion, while the British scene’s combination of folk song revival and the Beatles-led pop explosion saw record company deals for a new generation of pop-folkies including Marianne Faithfull, Dana Gillespie and Vashti Bunyan.
As he delved deeper into commercial soul-jazz and jazz-funk, Lou Donaldson became better at it. While lacking the bite of his hard bop improvisations or the hard-swinging funk of Alligator Bogaloo, Midnight Creeper succeeds where its predecessor, Mr. Shing-A-Ling failed: it offers a thoroughly enjoyable set of grooving, funky soul-jazz. The five songs – including two originals by Donaldson and one each by Lonnie Smith (who also plays organ on the record), Teddy Vann, and Harold Ousley – aren't particularly distinguished, but the vibe is important, not the material. And the band – Donaldson, Smith, trumpeter Blue Mitchell, guitarist George Benson, and drummer Leo Morris – strikes the right note, turning in a fluid, friendly collection of bluesy funk vamps. Donaldson could frequently sound stilted on his commercial soul-jazz dates, but that's not the case with Midnight Creeper.
Baritonist Pepper Adams and tenor saxophonist Zoot Sims (who rarely performed together) make a surprisingly compatible team on this CD reissue of a 1968 Prestige session. With pianist Tommy Flanagan, bassist Ron Carter and drummer Elvin Jones forming a fairly adventurous rhythm section, Pepper and Sims sound inspired on material that includes obscurities by Flanagan, Thad Jones and Adams in addition to the Ellington-Strayhorn ballad "Star-Crossed Lovers" and a pair of Joe Henderson songs. The setting is more advanced than usual for Sims, who rises to the challenge.
Essential: A masterpiece of Progressive-Folk music
The Young Tradition was formed on 18 April 1965 by Peter Bellamy (8 September 1944 – 19 September 1991), Royston Wood (born 1935 died 8 April 1990) and Heather Wood (born Arielle Heather Wood, 31 March 1945, Attercliffe, Sheffield, Yorkshire) (who was unrelated to Royston Wood). Most of their repertoire was traditional British folk music, sung without instrumental accompaniment, and was drawn especially from the music of the Copper Family from Sussex, who had a strong oral musical tradition. They augmented the pure folk music with some composed songs which were strongly rooted in the English folk tradition, such as sea shanties written by Cyril Tawney, of which “Chicken on a Raft” was the most notable.
The popularity of California rock bands with both female and male vocals was simply immense in the wake of the Mamas & the Papas and Jefferson Airplane. Morning Glory pay significant tribute to both bands on their obscure and only LP, though you can certainly hear some Byrds in some of the guitar licks, as well as traces of Bay Area psychedelic groups like Moby Grape in some of the arrangements. It's well-sung (with the sole woman in the group, Gini Graybeal, handling most of the lead vocals) and tightly played, with Abe "Voco" Kesh, most famous for his work with Blue Cheer, handling the production…