The Incredible String Band, THE BIG HUGE (1970) D:10. Not as consistant as HANGMAN’S or 5000 LAYERS, there’s nonetheless some top-notch material on this (and its sister volume WEE TAM too, incidentally). Namely, “Cousin Catepilliar” and “Lordly Nightshade”, which match up to their best stuff.
Chris Potter, TRAVELLING MERCIES (USA 2002) 9=9. I saw Chris Potter (saxophone) live one time many years ago when he was maybe still a teenager and playing in Red Rodney’s group at Birdland in NYC. He was really good, as best I could tell at that point. Certainly he was a fluent soloist. I haven’t kept up much with his career, but picked up this CD at some point which I’ve kept in my collection since, despite the Gnosis “9″. Thing is, there’s some nice, accomplished music here: Potter’s still quite good, I like the Rhodes keys textures, and John Scofield plays some of his nice tension-and-release solos. But overall the fusion-tinged jazz is just too correct, too slick for any fires to be lit. Normally that criticism leads a CD to the “out pile”, but I’ve held on to this one despite mulitple plays at a stubborn 9. I guess there’s something about it.
Quicksilver Messenger Service, HAPPY TRAILS (USA 1969) 8+9. With a lot of QMS talk in the last week here and in WIRE magazine, it was time to relisten. I like the group’s playing quite a lot - Cippolina’s got a nice touch and sense of phrasing that takes rock/blues phrases and puts them a little in front of the beat to interesting effect. And the rest of the band sounds good too. I guess it’s the material that doesn’t appeal to me: the workouts on Bo Didley tunes, and the atmospheric Western stuff. Still, appreciated this much more than I have before.
Devendra Banhart, CRIPPLE CROW (USA 2005) D:12. Banhart’s a really talented guy. I think of him along the lines of the ISB - he has that ability to make simple things sound fresh and interesting by a twist of phrase or an unexpected chord. I’ve enjoyed listening to his first three albums a lot, but would often feel afterwards a nagging sense that I wished he could flesh out and “complete” some of his songs more; a lot of them seemed to present a strong idea and then drop it, ending without any development. Looks like I’ve gotten my wish with CRIPPLE CROW, and not only are the songs (in some cases, anyway) more skillfully arranged, but his textural and stylistic palate has widened considerably. Some influences are ablolutely on-sleeve here (I thought of Elvis, Bob Dylan circa BASEMENT TAPES and BLONDE ON BLONDE, classic Motown, and even classic rock like the Doobie Brothers) but the material and delivery is singular enough not to be overburdened by these references, weighty as they are (well, except for the Doobie Brothers, natch).
B.B. Blunder, WORKERS’ PLAYTIME (England 1971) 11+12. Found a vinyl copy of this a couple years ago and it’s been growing in my estimation steadily since. Hasn’t made it to CD though it’s a perfect candidate for reissue through Eclectic or somebody. WP is pretty much the third Blossom Toes record and continues the direction established on IF ONLY FOR A MOMENT: hard rock informed by the WHITE ALBUM and ABBEY ROAD but with a willful eclecticism occasionally bordering on the abrasive. It’s got some great songs and even better guitar work (I think that Jimmy Page must have known this record becuse it sounds to me like he might have ‘borrowed’ a riff or two), but a very odd flow and one pretty weak track (side 1, track 2). Fans of classic British early 70s guitar, if nothing else, should hear side 2. Guests include Mick Taylor and Julie Tippets.
(Note: looks like WORKERS’ PLAYTIME is being reissued on CD in March 06 by the German label Long Hair. The label promises 2 bonus tracks and improved sound - a good thing as the vinyl sound is dodgy.)