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This album by the excellent Keef Hartley Band, one the best Blues / Rock / Jazz ensembles ever, founded by drummer Keef Hartley following his stint with John Mayall's Bluesbreakers. The band featured a nucleus consisting of singer / guitarist Miller Anderson, guitarist Spit James, keyboardist Peter Dines, bassist Gary Thain and Hartley on drums. In addition a horn section was added to expand the band's sound, which on this album consisted of the best horn players in Britain: trumpeters Henry Lowther and Harry Becket and saxophonists Lynn Dobson and Chris Mercer. Together this nine-piece band had a tremendous power and considering the quality of its members it was simply the best "little Big Band" around at the time. Hartley's sensitive drumming drives the music through a set of fantastically well written and superbly arranged tunes, which are Blues based but extend often into Rock and Jazz. The guitar work is stunning, the brass arrangement just right on the money, in short heaven on earth for any Blues fan, but basically early Jazz-Rock Fusion enthusiasts will find here everything they need to make them happy. Definitely a classic of the genre and an essential piece of music if ever there was one!

This is one of those albums that is a masterpiece from the early 70's that holds right up there with some of Chicago's finest. If you like horns and and a touch of jazz in your music, don't hesitate to grab this one. Yes, I spent a minor fortune for the Japanese import, but it was worth it. The quality is the best I've heard for this album. The original Evolution records were kind of muffled and lacked much sonic range. So, if horn bands from the early 70's were your bliss, don't miss out on this one.

This platter really rocks. Seems a few old Yardbirds got together with a mix of lead guitarists and put this release out. There are some well written tunes on here and the guitars just wail. Toe tappers abound and this long play sounds like the musicians were relaxed and enjoying themselves. This platter rocks!

Originally released in 1975, Maximum Darkness was the final album by Welsh Rock legends for United Artists Records. Recorded live in 1975 at the Roundhouse as part of a UK tour, Man were at the top of their game on stage. For this concert they were joined by John Cippolina from San Francisco's legendary Quicksilver Messenger Service. A triumphant concert, the album has become legendary.

This 1973 release continues the format of Song of the Marching Children (1971) and features infinite and brooding soundscapes loaded with tons of spacey mellotron washes. To top it all off, the excellent vocals of alto Jerney Kaagman lends a certain innocence to the music that I find pretty refreshing. Mix in some great Hammond organ work, pretty good electric guitar/bass/drum playing, the occasional bouncy melody and haunting flute lines, and you will have a good idea of what they are up to musically. The songs essentially flow together into one large song-cycle suite of sorts.

This 1975 debut album, which had been deleted since 1978 prior to the Lemon reissue! In simple terms, this album features several legendary rock musicians! Formed by Mike Bloomfield (the late lead guitarist of the Butterfield Blues Band, Bob Dylan's original guitar player and one time member of Electric Flag) and includes Carmine Appice (whose drumming credits include Vanilla Fudge, Jeff Beck, Rod Stewart and Black Sabbath) and Rick Grech, bassist of both Blind Faith and Ginger Bakers Air Force. It has also been rumored for many years that the album contains input from Steve Winwood although he is unaccredited. Also featured on this record is Al Kooper (of Bob Dylan fame).

When Myles Kennedy raises his bluesy, unmistakable voice, he always reveals a piece of his soul. When he plays the guitar, his influences from Jimmy Page to John Sykes merge into a timeless, nuanced amalgam. In addition to the milestones, the Myles u.a. Old Bridge and Slash released and hoisted him at the top of the Rock Olympus, worked the exceptional singer for a long time in silence on his solo debut: the fans long since loudly demanded Year Of The Tiger is finally here.

An album with which Myles Kennedy processes the death of his father - and thus the most personal and emotionally demanding work from his pen. In their naked uncompromisingness, numbers like Love Can Only Heal push the air out of the lungs and are at the same time a salutary liberation blow; shrouded in consuming guitar cascades. Blind Faith thrives on melancholic Americana sounds, and impulsive up-tempo blues give Devil On The Wall shape. A hymnic spirit, subtle nuances and earthy acoustic guitars make Year Of The Tiger not the song of mourning, but a celebration of (over) life, with all the ups and downs.

This is a strong melodic rock album. It pales in comparison to the previous one (the superb Chase the Dragon) and the follower (On a Storyteller's Night - which is their masterpiece), but it is a very good work.
All the songs are very good. Tony Clarkin's riffing is superb, but it's Bob Catley (vocalist) who steals the show here. Powerful and not exaggerating on any levels, his vocals are a wonder to behold.
No songs stick out as being godly or exceptionally superb, but their is a great amount of very good ones of which I think The Prize; Vicious Companions; So Far Away; Young and Precious Souls and Road to Paradise is worth a mention for various reasons, be it a remarkable vocal melody or a riff, all of these have got something special.
The production is not very great either, it doesn't help much, although it doesn't detract much either. But the lack of punch is felt especially in the guitar department, but once you're OK with that, there's no other disturbing factors to be found here, only solid classic melodic rock.

This is live album from the Jazz/Blues/R&B outfit, recorded at the Marquee Club in 1971. Featuring an eight piece horn section (including such luminaries as Barbara Thompson, Chris Mercer and Lyn Dobson) plus guest percussionist Pete York, Little Big Band remains one of Hartley's most ambitious affairs.. Hartley came to prominence as a member of the British R&B group the Art woods before joining John Mayall's Bluesbreakers, contributing to the 1967 album Crusade.

This is one of those anamoly records. A true one of a kind. Recorded in 1971 in the famous EMI studios in Colonge Germany. It has a grand but haunting production with space effects, wah and backwards guitar and drum sounds. And to top it off a fretless electric bass sliding around.Beautiful soundscapes in the arrangements with nicely sung vocals that change from emotional cries to bubble gum and also a nasty sounding Ozzy type howl. Also Iommi type guitar blasting here and there. And the longest acoustic track 20 min + that used to take up a side of the record. The bonus tracks from the '90s are not that impressive, but the original 5 tracks are essential for krautrock collectors. This can still blow your mind today....