Missionaria Protectiva

  BROUGHTONS  Parlez-Vous English?  (Laser,1979) - Psychedelic rock       One of the last things The Edgar Broughton Band did in their heyday wasn't done by The Edgar Broughton Band. Re-formed in 1979 as simply The Broughtons, that incarnation of the band lasted just long enough to make this album.       Parlez-Vous English was originally recorded in 1979 and has a late '60s / early '70s vibe to it - so it probably missed its market by half a decade. And The Edgar Broughton Band was well known for its anti-everything activism and its political positions, which probably added to this record's lack of commercial success. So the fact that Parlez-Vous English isn't on the shelves of every collector of early Brit / Cantebury progressive music is a pity - it's very nicely put together, there's some good musicianship, every song is different from the next, and the whole package is a lot of fun . The humor and the some of the lyrics will be better ...

  AUDIENCE  Friend's Friend's Friend  (Charisma,1970) - Art rock, Progressive rock       Audience's 1970 album 'Friend's Friend's Friend' stands as an underrated prog-psych classic marked by creative freedom and exceptional songwriting. Despite being overshadowed by their next album 'The House on the Hill,' this record showcases a raw, anti-mainstream sound with standout vocals by Howard Werth and inventive wind instruments by Keith Gemmell. The album captures a unique moment of artistic expression without conventional production constraints, delivering memorable tracks like 'Nothing You Do' and 'Raid.' It remains a bright spot in a short but inspiring English band's career. TRACKLIST : Nothing To Do                        Belladonna Moonshine                        It Brings A Tear                 ...

  CITY BOY  Dinner At The Ritz  (Vertigo,1976) - Art rock, Progressive pop       Dinner At The Ritz  is a huge step up from the debut album, released that same year. Not only are there no weak/weaker songs but the album can actually be seen as a minor conceptual masterpiece. I was really not a fan of the funk and reggae explorations on the debut so the absence of these styles is a complete bliss to my ears. The overall sound of the record makes me think of Supertramp around the  Even in the Quietest Moments... -era, released a year after  Dinner At The Ritz . The record is smooth, subtile and featuring that magical sound that can only be found on a '70s studio album. TRACKLIST : Momma's Boy                        Walk On The Water                        Narcissus                  ...

  BIRTHA  Birtha  (Dubhill,1972) - Hard/Blues rock       This is well played hard rock with female voices. The band toured UK with the Kinks and the US with (among others) James Gang, Alice Cooper or Black Oak Arkansas and their own music is from the same mold. If any of those bands appeal to you, then Birtha is really worth to check out. TRACKLIST : Free Spirit                        Fine Talkning Man                        Tuesday                        Feeling Lonely                        She Was Good To Me                        Work On A Dream                        Too Much Woman (For A Hen Pecked...

  KKTR  Kossoff, Kirke, Tetsu, Rabbit  (Island,1972) - Blues rock       Recorded after  Free  disbanded, drummer Kirke elected to remain with guitar player Paul Kossoff forming a quartet with Bundrick and Yamauchi in 1971. Kirke has noted that although initially Kossoff appeared in good spirits and was engaged in making the album, he increasingly indulged in drugs, often falling asleep between takes or while listening to playbacks.       Well received and filled with quality songwriting, Kirke's song "Anna" was later re-recorded with  Bad Company , the band that he and Rodgers established after the final breakup of Free. Also, "Hold On" was covered by  Maggie Bel l , which was included in the album  Suicide Sal . TRACKLIST : Blue Grass                        Sammy's Alright                        Ann...

        The Alabama-born musician and songwriter,  Oldham played keyboards on such seminal soul songs as “When a Man Loves a Woman” by Percy Sledge, “Mustang Sally” by Wilson Pickett, “You Better Move On” by Arthur Alexander and “I Never Loved a Man (The Way That I Love You)” Aretha Franklin’s historic first recording for Atlantic Records. He was a co-founder of the Muscle Shoals Rhythm Section.       As a songwriter, Spooner Oldham teamed with Dan Penn to write such hits as “Cry Like a Baby” (The Box Tops), “I’m Your Puppet” (James and Bobby Purify), “Wish You Didn’t Have to Go” King Kurtis, “A Woman Left Lonely” (Janis Joplin) and “It Tears Me Up” (Percy Sledge).      M ove to Los Angeles found Oldham recording with a variety of artists across the stylistic spectrum, including Arlo Guthrie, Jim Croce, Gram Parsons, The Everly Brothers, Jackson Browne, Linda Ronstadt, Gene Clark, Ry Cooder, Rita Coolidge, The Flying Burrito Brother...

  PETER GREEN  The End Of The Game  (Reprise,1970) - Instrumental rock       The style of this album is a radical departure from his work with Fleetwood Mac, consisting of edited pieces of a long studio jam. The jam was experimental and free-form, and the six tracks taken from it have very loose or non-existent musical structure, with all the tracks being instrumentals. TRACKLIST : Bottoms Up                        Timeless Time                        Descending Scale                        Burnt Foot                        Hidden depth                        The End Of The Game https://www.sendspace.com/file/6la7n6             ...

  PROCOL HARUM  Home  (Regal Zonophone,1970) - Progressive rock       The overall feeling of this album is melancholic and solemn, with some bluesy rockers giving a little balance to it. I think that the atmosphere of these songs make this album as a true masterpiece! This is just very different kind of music than their first hits, so I guess many people don't hear that kind of music that they would expect from this album. All tracks from the "Whiskey Train" to the "Whaling stories" are marvelous, and I think that they form a nice compact continuum of music. The final song is maybe the dullest of these all, but it's short and an easy one to skip. TRACKLIST : Whisky Train                        The Dead Man's Dream                        Still There'll Be More                       ...

  STEVE MILLER BAND  Rock Love  (Capitol,1971) - Rock       This is generally regarded as the black sheep in the SMB ’s discography. Although it features new material, the first half is recorded live and the whole thing appears to have been rush released. There are no formal production credits, no engineer (or remix engineer) cited, no explanation of overdubs. Despite all that,  Rock Love  isn’t as bad as critics have historically made it out to be. As a singer and guitarist, Miller is still as solid as a rock, and the quality of the material isn’t so far removed from the albums before and after. TRACKLIST : The Gangster Is Back                        Blues With Out Blame                        Love Shock                        Let Me Serve You       ...

  STYX  Styx  (Wooden Nickel, 1972) - Prog/Hard rock       The debut album by  Styx  is a mix of toil and toll: half an album of original music and half an album of covers selected by the band’s label, Wooden Nickel.  Styx  (later referred to as  Styx I ) is best remembered for its ambitious 13-minute opening track and the hard-rocking  Best Thing . TRACKLIST : Movement For The Common Man                        Right Away                        What Has Come Between Us                        Best Thing                        Quick Is The Beat Of My Heart                        After You Leave Me https://www.sendspace.com/file/35f8eb

  ATHLANTA RHYTHM SECTION  Third Annual Pipe Dream  (Polydor,1974) - Southern rock       ARS debuted in 1972 with a self-titled album that bubbled under the Top 200  Billboard  chart. Their second album,  Back Up Against The Wall , missed the survey, before a change of labels, from Decca to Polydor, brought better luck. Their official debut on that countdown came on September 14, 1974, when  Third Annual Pipe Dream,  produced as usual by Buie, entered at No.166.       Third Annual Pipe Dream  was launched by live dates that included a week-long engagement close to home for ARS, at the New Electric Ballroom in Atlanta in July, followed by further dates in the south.  Billboard ’s review of one night in the Atlanta run remarked that the album, “an excellent bright-boogie work with just the right soft touches,” was selling furiously in Atlanta and getting heavy AM airplay the week of the Ballroom engagement. TR...

  RANDY MEISNER  Randy Meisner  (Asylum,1978) - Rock,Country rock       Randy Meisner was the bassist and adding backing vocals on The Eagles’ first five albums which sold twenty-five million copies in America alone.       In September 1977, Randy Meisner announced he was leaving The Eagles, citing exhaustion, which was no surprise given the band’s gruelling recording and touring schedule over the past six years.        Randy Meisner had decided to embark upon a career as a solo artist, and signed to Asylum Records in 1978. Later that year, the thirty-two year old released his debut album Randy Meisner in June 1978. While this album of country rock, AOR and rock was well received by the majority of critics, it wasn’t the success that Randy Meisner had hoped and the album failed to trouble the charts. For Randy Meisner who wasn’t used to failure, this was a huge disappointment, and to make maters worse, he was dropped by th...

        The drummer (and sometimes singer) of  The Dictators , he was a founding member of  Blue Oyster Cult  and the drummer in the band’s first decade, which, it should be mentioned, was its best.  Bouchard  founded the band in 1967 and remained there until 1981, when he decided to start other projects on his own.       His drumming was effective and to the point. This added an element of consistency to  Blue Oyster Cult , which is shown throughout his career.  Bouchard  might be the most underrated drummer on this list but he deserves a lot more recognition. BLUE OYSTER CULT Blue Oyster Cult CBS, 1972 https://www.sendspace.com/file/3eoogh

  MFSB  MFSB  (PIR,1973) - Soul       Credited on  Save the Children ( Gil Scott-Heron )  for the first time ever was PIR’s house band, MFSB (short for Mother Father Sister Brother), a group of veteran studio players that had gelled into its own distinct entity, not unlike Barry White’s Love Unlimited Orchestra. Their self-titled debut, boasting some of the funkiest artwork in the label’s history, opens with a florid interpretation of  Curtis Mayfield ’s “Freddy’s Dead.” Where the original was fleet and street tough, MFSB’s cover is maximalist: a block party set to music. That applies to most of the songs on  MFSB , including their cover of “Back Stabbers,” which is essentially the band covering itself. In fact, half the fun of this set is hearing these artists comment so creatively on other pop trends, as they reach out and bring a little Philly to other cities and scenes. TRACKLIST : Freddie's Dead           ...

SKYY  Skyy Line  (Salsoul/RCA,1981) - Post disco        Skyy Line  is the band's fourth album, and on "Let's Celebrate" they hit the perfect groove, though whilst there are other highspots, much of the rest is enjoyable but unexceptional funk, or attractive but forgettable ballads. And of course Randy Muller's not too proud to slip in a deft Chic imitation at the end. TRACKLIST : Let's Celebrate                    Call Me                    Girl In Blue                    Jam The Box                    When You Touch Me                    Gonna Get It On                    Get Into The Beat https://www.sendspace.com/file/xd0pg4

  RICK JAMES  Fire It Up  (Gordy,1979) - Funk       After the disjointed and raggedy  Bustin’ Out of L Seven , Rick James ditched co-producer Al Stewart and handled all the production work on  Fire It Up  himself.       The album didn’t sell as well as  Bustin’ Out , but it sure as hell sounded a lot better, so I’may say Rick made the right call. Everything was streamlined and the first pangs of what James termed “punk funk” can be heard.        There’s a laid back vaguely island breezy groove supplemented by some sexy sax. And a Rick James song  finally  manages to have a good guitar solo. Importantly, James keeps his voice totally under control. He ain’t trying to reach notes his voice can’t handle. Also, the background singers are totally adult. None of that helium-voiced nonsense. This is grown folks music, so make sure everybody sounds grown. TRACKLIST : Fire It Up       ...