Rating

	Rating: ** (2 stars) Artist: AJ Title: Last Song First Side Company: Black Walnut Catalog: BW-3001 Year: 1973 Grade (cover/record): NM/NM Comments: still in shrink wrap; may be a reissue ??? Available: 1 Price: $70.00	A trio featuring the talents of bassist Lance Gessler, guitarist (and uncredited vocalist) Andrew Jay Goulart (we're guessing the band name came from his initals), and drummer Tom Arnold, its hard to know what to make of this effort. Released in miniscule quantities by the small Black Walnut label, 1973's "Last Song First Side" was apparently a self-financed ego project. With Goulart writing and producing all ten tracks (the liner notes actually listed four songs, though two of the titles consisted of multipart medleys), material such as "Feeling Down" and "Strange" proved surprisingly accomplished. Unfortunately, as lead singer Goulart wasn't quite as impressive. Burdened with a thin and fragile voice, his performances were seldom more than passable. That's not to say his voice was unattractive; rather it just wasn't very distinguished (though he occasionally bore a passing resemblance to a lightweight Neil Young (check out the ballad "How Long"). (No idea why they thought anyone would care, but the liner notes point out the album was recorded on Halloween night.)

	Rating: *** (3 stars) Artist: American Blues Title: Do Their Own Thing Company: See for Miles Catalog: SEE 99 Year: 1987 Grade (cover/record): VG/VG Comments: English reissue Available: 1 Price: $20.00	Released by MCA's Uni subsidiary, 1969's "The American Blues Do Their Thing" was a major improvement. Self-produced, the collection found the band opting for a major change in direction. Written by the Hills, material such as the lead-off "You Were So Close To Me", "Captain Fire" and "Just Plain Jane" found the band attempting to capitalize on San Francisco-styled psychedelics. Elsewhere, the collection found the group mining a more conventional rock format; "Wonder Man" and "Shady" reflecting a distinctive Cream-influence, while the blazing "Comin' Back Home" (complete with Beard and Rocky Hill meltdown solos) offered up a nice Hendrix imitation. Sure, it was largely derivative, but that didn't lessen the enjoyment factor. A commercial failure, Uni promptly dropped the band. (On a personal note, we've always wondered about the discrepancy between the front and back covers showing a trio and the liner notes listing four members.) Beard promptly left to join the newly formed ZZ Top, quickly recruiting Dusty as bassist (see separate entry).

	Rating: *** (3 stars) Artist: Arnold Bean Title: Cosmic Bean Company: SSS International Catalog: SSS-21 Year: 1969 Grade (cover/record): NM/NM Comments: -- Available: 1 Price: $30.00	Here's another outfit we don't know much about. One of the music references lists them as a German outfit that relocated to Columbus, Georgia. Given the set was recorded in Vaparaisa, Florida, we'll express skepticism ... What little we know is gleaned from the liner notes on their sole LP, 1969's "Cosmic Beans". Based on the LP, they seem to have been a four piece consisting of singer/guitarist Mike Guthrie, bassist/singer Gary (no last name), keyboardist Dave (no last name) and drummer Herb (no last name) - Candymen guitarist , guitarist John Rainey provided support on a couple of tracks. Co-produced by Guthrie and D. Atkins, in spite of the psychedelic cover, musically the set offered up a weird mix of styles, including dollops of psych ("I Can See Through You"), progressive moves ("I've Got the Key"), country-rock ("Indian Summer") and straight ahead pop ("Penny, Dear"). With Guthrie credited with all 11 tracks, much of the set sporting what sounded like a drug induced daze, the first time we listened to it the set didn't do much for us. Giving it another chance it began to grow on us. Sure, this ain't no lost classic, but several tracks including "Captain Marvel", "(Open Up Your Heart) Nature Boy" and "Daddy's Got the Clap" were worth hearing. Needless to say, the album vanished without a trace, followed by the band.

	Rating: *** (3 stars) Artist: ARS Nova Title: ARS Nova Company: Elektra Catalog: EKS-5002 Year: 1968 Grade (cover/record): VG/VG Comments: gatefold sleeve Available: 2 Price: $15.00	Classically training musicians living and working in New York City, in 1967 drummer Maury Baker, guitarist Wyatt Day, bass Bill Folwell, guitarist Giovanni Papalia, vocalist/horn player John Pierson and bassist John Raskin decided their future (and their fortunes) lay in rock and roll. Several months of intense rehearsals and a series of well received concerts led to a deal with Elektra Records. Teamed with Doors producer Paul Rothchild, the band's 1968 self-titled aptly debut displayed the sextet's virtuosity. Musically diverse, "ARS Nova" found the band equally at home with classical inspired ballads (the Baroque-influenced single "Pavan for My Love"), precursor Blood, Sweat and Tears horn arrangements ("General Clover Ends a War") and prototype heavy rock ("And How Am I To Know"). With Day providing the majority of material (much of it co-written with either Pierson or non-band member Gregory Copeland), the group's efforts to blend classical and rock elements was interesting, if occasionally a tad pretentious. Imagine a less bubble gummy version of The Left Banke and you'll get a feel for the set. Personal favorite, the popish single "Fields of People." In spite of decent reviews, including an extensive write-up in the June 1968 edition of Life, the set failed to sell. (The album was originally released with a gatefold sleeve.)

	Rating: **** (4 stars) Artist: Automatic Man Title: Automatic Man Company: Island Catalog: ILPS-9397 Year: 1976 Grade (cover/record): VG/VG Comments: -- Available: 2 Price: $6.00	Before adopting the stage name Bayete, singer/multi-instrumentalist Todd Cochrane recorded a pair of instantly obscure jazz-oriented albums for Prestige (see separate entry). The mid-'70s found Cochran-cum-Bayete hook up with former Santana drummer Michael Shrieve (see separate entry), bassist Doni Harvey and guitarist Pat Thrall. As Automatic Man, the quartet generated considerable attention in their native San Francisco. Signed by Chris Blackwell's Island Records, 1976's "Automatic Man" featured a surprisingly successful blend of Hendrix-styled guitar ("Geni-Geni") and synthesizer based jazz-rock fusion (One 'N One"). While Bayete's voice was no great shakes (he occasionally recalled Daryl Hall), on material such as "Comin Through" and "My Pearl" his energetic performances and spacey keyboards compensated for other shortcomings. Never less than entertaining, the collection attracted favorable reviews, but in an era of disco madness and punk mayhem proved too quirky for radio, peaking at #120.

	Rating: *** (3 stars) Artist: The Bag Title: Real Company: Decca Catalog: DL 75057 Year: 1969 Grade (cover/record): VG/VG Comments: -- Available: 2 Price: $35.00	We've always wondered about this quartet (keybaordist Joe Di Marzo, singer Danny Mahony, guitarist Jay Saving and drummer Al Esposito). A number of reviewers have categorized the band's sound as psychedelic, but to us they sound like Young Rascal clones. Released by Decca, 1968's "Real" teamed the quartet with producer Jim Curtiss. Showcasing a mixture of originals (Di Marzo, Mahony and Savino all contributing material) and two covers, the collection offered up an enjoyable set of blue-eyed soul. Propelled by Mahony's crusty voice (baring an uncanny resemblance to Felix Cavaliere), tracks such as "I Want You By My Side", "Got Away" and "I'm Sitting By the Wayside of My Life" were melodic and highly commercial Okay, back to the psych label for a moment: admittedly "Red, Purple and Blue" had a nifty freak-out fade, while "It's All Over" benfitted from a tasty lead fuzz guitar. A commercial non-entity, the set vanished without trace. Within a matter of months the band followed suit.

	Rating: ** (2 stars) Artist: The Bubble Gum Machine Title: The Bubble Gum Machine Company: Senate Catalog: S 21002 Year: 1967 Grade (cover/record): NM/NM Comments: still in shrink wrap; we opened and played once; stereo pressing Available: 1 Price: $35.00	Here's another one we haven't been able to learn much about. A five piece (judging by the cover and first name liner note credits), they seem to have been a studio project for producer/writer Wes Farrell. Released by the ABC affiliated Senate label, their self-titled 1967 album featured a decent mix of Farrell-penned originals ("Wha'Cha Gonna Do For Me Now" and "I Wonder") and popular covers (Beatles, Bee Gees, whose "To Love Somebody" was mis- credited to Robert Gibb - think they meant Robin Gibb and Buffalo Springfield). To be honest, "The Bubble Gum Machine" wasn't going to drastically change your life. The uncredited male vocalist had a decent enough voice, while their attractive female singer ('Vicki' - no last names shown on the credits) had a voice than bore a passing resemblance to Cass Elliott. Unfortunately, as far as mid-'60s music went, nothing here was particularly original or inspiring. 'Bout the best you could say was that "The Love of a Woman" had a certain top-40 charm and they would have made a great bar cover band.

	Rating: **** (4 stars) Artist: Buffalo Springfield Title: Last Time Around Company: ATCO Catalog: SD 33-256 Year: 1967 Grade (cover/record): VG/VG Comments: gatefold sleeve Available: 2 Price: $10.00	In spite of their commercial successes, personality conflicts between band leaders Stills and Young continued to ravage the band. Recording sessions for their next album quickly degenerated into a series of solo efforts, with various members refusing to participate with others in the same room. With band loyalty splintered between two factions, following a May 1967 L.A. concert, the group simply disbanded. Furious, ATCO commissioned Messina to patch together a posthumous collection. Released in late 1968, "Last Time Around" featured some of the material previously recorded for what was to be the band's third album. Other tracks were little more than studio outtakes and miscellaneous odds and ends. Ironically, in spite of it's ragtag roots, material such as Young's sweet "On the Way Home," Stills' burning "Questions" and Furray's lovely "Kind Woman" made for a surprisingly impressive and enjoyable set. Certainly a reflection of each member's writing skills, the album also served as testimonial to producer Messina's skills. Fans were certainly impressed, the album standing as the group's biggest seller, peaking at #42. (One of our all time favorite album covers - check out Neil Young's typical pose, the collection was originally released with a gatefold sleeve.)

	Rating: **** (4 stars) Artist: Buckingham-Nicks Title: Buckingham Nicks Company: Polydor Catalog: PD 5058 Year: 1972 Grade (cover/record): VG/VG Comments: gatefold sleeve; name inside Available: 2	Following the 1971 breakup of the San Francisco based Fritz, vocalist/guitarist Lindsey Buckingham and Stevie Nicks (the liner notes spelled it "Stevi") elected to continue their collaboration as a duo. After two years of low-keyed touring, in 1973 the duo was signed by Polydor. Produced by Keith Olsen, their self-titled debut featured a first rate collection of '70s folk-rock. Powered by Buckingham's unique, largely acoustic guitar ("Stephanie"), Nicks' ethereal voice (to say nothing of her stunning good looks), and the duo's impeccable harmonies, songs such as "Don't Let Me Down Again", the sweet ballad "Long Distance Winner" and "Crystal" were catchy and deserved widespread airplay. Unfortunately, without much support from Polydor, "Buckingham-Nicks" quickly vanished without a trace. (Original copies of the album included an gatefold sleeve.) In the wake of the album's commercial failure, Buckingham returned to sessions work, while Nicks took a day job as a waitress. The setback proved momentary; within a year the two were members of Fleetwood Mac (see separate entry). After hearing the album want to guess whether Fleetwood Mac had the bigger impact on these guys, or vice versa ???

	Rating: **** (4 stars) Artist: Sandy Denny Title: Sandy Company: A&M Catalog: SP-4371 Year: 1972 Grade (cover/record): VG-/VG Comments: minor ring, edge and corner wear; minor warping at bottom; gatefold sleeve Available: 2 Price: $20.00	Produced by Lucas (Fairport alumnus Dave Swarbuck and Richard Thompson playing on the set), 1972's "Sandy" stood as an excellent introduction to Denny's solo efforts. Showcasing mostly original material (there were two covers), the set highlighting Denny's sweet, yet achingly sad voice. Exemplified by material such as "It'll Take a Long Time" (showcasing a wonderful Thompson solo), the haunting "Sweet Rosemary" and "Listen Listen" most of the set remained true to her folk-rock roots. Among the few exceptions were some interesting if atypical brass arrangements courtesy of Allen Toussaint ("For Nobody To Hear"). Elsewhere, one of the clear highlights was a nifty cover of Dylan's obscure "Tomorrow Is a Long Time" (recall Fairport frequently covered odd Dylan tunes). Unfortunately, while it received wide critical praise, the collection failed to sell in the States. David Bailey's cover photo is stunning - simply the prettiest picture of Denny we've ever seen. (The album was originally released with a gatefold sleeve.)

	Rating: **** (4 stars) Artist: Marianne Faithfull Title: Broken English Company: Island Catalog: ILPS 9570 Year: 1976 Grade (cover/record): VG/VG Comments: minor ring, edge and corner wear Available: 2 Price: $10.00	In the wake of her marriage to musician Ben Brierley, Faithfull returned to the studio determined to launch a full scale comeback. Inspired in part by the ongoing punk revolution, she recorded several demos, attracting the attention of Chris Blackwell and Island Records. Released in 1979, "Broken English" was an amazing comeback; possible one of the year's best efforts. While years of neglect had all but destroyed her voice (most of the album was sung in an almost painful growl), the collection showcased Faithfull as a true survivor. Thanks in part to a sizeable assist from Steve Winwood, musically the album featured a striking combination of punk posturing and mainstream rock (check out her stark cover of John Lennon's "Working Class Hero"). While all eight tracks deserved to be heard, particularly the ominous title track and "Brain Drain," the collection's most stunning effort was the X-rated "Why D'Ya Do It". Seen by many as a scorching message to Jagger, the song's steaming fury was enough to melt your turntable. Accompanied by strong critical reviews (albeit little airplay), the album reached #80.

	Rating: **** (4 stars) Artist: Rory Gallagher Title: Irish Tour '74 Company: Polydor Catalog: PD- Year: 1974 Grade (cover/record): VG/VG Comments: double album set; minor ring and edge wear Available: 2 Price: $20.00	"Irish Tour '74" was a double album live offering. Self-produced, the collection found Gallagher and expanded band tearing their way through a first-rate mixture of acoustic and electric blues-rock. While live takes on tracks such as "Cradle Rock", "Tattoo'd Lady", and "Too Much Alcohol" were suitably enthusiastic, they didn't add much to the original studio versions. Still, spurred on by partisan Irish audiences (the set recorded at various dates in Belfast, Cork, and Dublin), the band came off in prime form, serving as an excellent introduction to Gallagher's stinging guitar style ("Wonder Who's (Gonna Be Your Sweet Man)"). Once again, Martin's keyboards continued to fill out the group's otherwise thin sound. Elsewhere "Back On My (Stompin' Ground)" and "Just a Little Bit" were less impressive, amounting to little more than extended jam sessions. Supported by strong reviews, the set proved a surprisingly strong seller, hitting #110. Originally released with a gatefold sleeve, Polydor deserved an award for the lavish cover ... Sadly the set was quickly dropped and is now extremely difficult to find.

	Rating: *** (3 stars) Artist: Kraftwerk Title: Autobahn Company: Mercury Catalog: SRM-1-3704 Year: 1973 Grade (cover/record): VG/VG Comments: minor ring, edge and corner wear Available: 2 Price: $10.00	Adding guitarist/violinist Klaus Roeder and percussionist/synthesizer player Wolfgang Flur to the line up, the group scored an unexpected hit with their 1974 American debut "Autobahn". While it sounded odd, the group somehow managed to turn the idea of a 22 minute simulated car ride into an effective piece of music. You simply can't describe the results - it's one of those sets you have to hear for yourself (preferably with a pair of quality headphones). Even more of a surprise, released as a single, an edited version of the title track managed to hit #4. A multi-part suite (check out the cheesy bird sounds on "Morgenspaziergang"), the flip side was less appealing, if still worth checking out. Propelled by the fluke hit (hearing it on the radio is still bizarre), the parent album reached #5.