Following the release of Crosby, Stills and Nash’s excellent ‘CSN’ LP in 1977, Stephen Stills returned to his solo work. He’d made some excellent albums before [1970’s self-titled album and 1975’s ‘Stills’ are both essential listening, and 1976’s ‘Illegal Stills’, while marred a little by a thin sound, is very enjoyable], so there was no need to think that his next solo LP wouldn’t be of a certain standard. However, in comparison to almost everything he’d put his name to previously, his 1978 release ‘Thoroughfare Gap’ can be seen a big misstep.
Tag Archives: 70s
VARIOUS ARTISTS – Climb Aboard My Roundabout!: The British Toytown Pop Sound 1967-1974
What is “Toytown Pop”? The label, coined by fans and collectors, refers to the more mundane and child-friendly aspects of the psychedelic era and psych pop movements. It is chiefly concerned with everyday life, shops, buses, swings in the park, and has an obsession with being home in time for tea. In terms of lyrical concerns and overall concepts, you’d be hard pressed to find anything more…1967.
For those who aren’t regular visitors down the rabbit holes of cult 60s pop, The Beatles’ ‘Penny Lane’ is a good example of this musical niche with its busy narrative driven by people and casual observations, and to a lesser extent, the optimistic tone and bounce of ‘Good Day Sunshine’ could also fit the remit. Obviously, due to licencing agreements and costs – as usual – you won’t find The Fab Four anywhere on ‘Climb Aboard My Roundabout’, but Grapefruit Records has unearthed a whole world of other treats to ensure that this three disc set is a very comprehensive journey through Toytown, and is never less than interesting.
PLAINSONG – Following Amelia: The 1972 Recordings & More
In the minds of most people, Iain Matthews will always be best known as an early member of Fairport Convention, and for fronting his own folk rock band Matthews’ Southern Comfort in the early 1970s. His career stretches way beyond that, though, and is home to some much bigger musical treats.
FLASH – In The USA: Live Recordings 1972-73
In terms of their very limited studio output, Flash were, and remain, one of the most overlooked bands of the early 70s. Despite featuring two ex-members of Yes – Peter Banks (guitar) and Tony Kaye (keyboards) – their work isn’t often mentioned with the revered tones it so deserves. Their first two albums (‘Flash’ and ‘In The Can’) are home to some brilliant sounds, mixing elements of blues and prog with bits of hard rock. Although sometimes less fussy than the band Banks and Kaye left behind, Flash’s work is no less grand. At their best, they could fuse jazz rock elements with ethereal vocals (‘There No More’), or hit upon a great 70s rock groove and pepper that with obvious Yes-like flourishes (‘Children of The Universe’). Their work could occasionally be derivative of Yes; their albums sometimes felt like cobbled together collections rather than truly cohesive works, but Flash were never dull.
VARIOUS ARTISTS – Once Upon A Time In The Midlands: The Bostin’ Sounds Of Brumrock 1966-1974
When thinking of the rock sounds to emerge from Birmingham and surrounding areas, it’s all too easy to think of Slade and their chart topping stompers, of Roy Wood and his flamboyant take on glam rock, and of heavy metal pioneers Black Sabbath and Judas Priest. All of those bands really helped to put the Midlands on the map – that could never be disputed – but Brum and its surrounding neighbourhoods offered British music so much more throughout the sixties and seventies. ‘Once Upon A Time In The Midlands’ brings together various heroes, forgotten gems, period rarities, and even the occasional hit in a brilliantly compiled 3CD package that’ll educate as much as entertain.
Although the three discs aren’t in a strict chronological order, this collection has a definite flow, moving through psych and beat groups, into a world of seventies rock and finally ending up with the glam-ish sounds of Blackfoot Sue and an early tune from Judas Priest. As always with these sets, though, ‘Bostin’ Sounds’ works best when approached as a curate’s egg, with the listener dropping in at random on a couple of old favourites and discovering something old – yet new – along the way.