#54
GRATEFUL DEAD — FROM THE MARS HOTEL
Given their penchant for live albums, it was a forgivable error to assume From The Mars Hotel was another; perhaps a one night stand at a seedy spaced-themed Las Vegas bar? But no, this is a studio album. Although the single “U.S. Blues” failed to chart, From The Mars Hotel—housed in a great piece of album cover art by Stanley Mouse and Alton Kelley—sold respectably and included two songs that were staples of the Dead’s stage show. “Scarlet Begonias” and “Ship of Fools” are both Jerry Garcia/Robert Hunter compositions and top draw entries in the Grateful Dead songbook. So although the album has some middling material (“Loose Lucy” and “Money Money” spring to mind) the two tracks that open and close side two carry the day.
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#53
GENTLE GIANT — THE POWER AND THE GLORY
There are several albums in this list that provide an effective entry point to an artist. This is not necessarily one of them. Gentle Giant created intricate, multi-part fugue-like compositions with vocal lines at least as complicated as the instrumental parts, resulting in much gyring and gimbling in the wabe. Be assured, you will find Power And The Glory has beauty and dissonance whiffling through the tulgy wood. If you are already on board with GG, this is probably one of your favourites, not because it is more accessible than, say, Octopus, but for exactly the opposite reason; here there be jaws that bite and claws that catch. With interweaving vocal parts, rhythms that rarely sit still and a forrest full of musical twists and turns, this is an acid-madrigal that will take you to new and strange places. Have a fabjous day.
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#52
REFUGEE — REFUGEE
Two members of The Nice, Lee Jackson and Brian Davison, formed a new keyboard driven trio some time after their previous ivory tickler said farewell. It was goodbye Keith Emerson and hello Patrick Moraz.
Refugee made just one album, but it’s a beauty. Moraz is a spectacularly good keyboard player and the rhythm section are clearly relishing a new, freer environment. Lots of variety in pace and style, including symphonic grandeur and funky grooves. Fans of EL&P probably have this, but if you don’t, seek out the 2019 three CD box that includes great live material. As for Patrick Moraz, later in 1974 he was invited to join Yes, which he did for one startling album*. Perhaps this highly enjoyable ‘calling card’ sealed the deal.
* Which will appear at the sharp end of this series.
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#51
KUSH — SNOW WHITE AND THE EIGHT STRAIGHTS
I have a few ideas as to why this Australian album has received neither the praise nor the recognition it deserves. None of these hypotheses involve the music.
A thrilling combination of Bowie-inspired vocals, Blood Sweat and Tears horns and Chicago creativity, it is packed with great songs and fabulous playing from this exceptional nine-piece band. Jeff Duff’s voice is a nuanced power house belied by the red and white striped mini-leotard. “Easy Street” updates the Ray Charles big band sound, “All Right In The City” is absolutely irresistible and remains one of my favourite singles of the entire decade. (Have a listen). Perhaps the cover of “McArthur Park” hasn’t aged quite so gracefully; it was always an odd one, wasn’t it? But the rest is great, especially side two opener “Satanic Deity.” The Aztec CD re-issue adds some tasty bonuses.
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#50
LARRY CORYELL — INTRODUCING THE ELEVENTH HOUSE
Larry Coryell was one of the pioneers of jazz-rock. A talented musician who excelled on both electric and acoustic guitars, his huge catalogue has much to entertain and delight (except where he sings, an unfortunate decision in most instances). Introducing The Eleventh House was his first LP with a ‘named’ band, and an outstanding fusion album. With the limber and funky Alphonse Mouzon on drums, Randy Brecker’s trumpet and the marvellous Mike Mandell playing piano and synthesiser, this is a varied and hugely entertaining album that stands out in a jazz-rock field becoming increasingly populated by fine albums. (You have been warned.)
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vinylconnection.com.au 
Only two names I recognized in this batch. My knowledge of the Grateful Dead remains pretty spotty. While I had heard “U.S. Blues,” I don’t know this specific album.
Gentle Giant are one of the prog rock bands my longtime German music buddy Gerd has tried to make me embrace. So far it hasn’t happened, and based on your description, it sounds like this album wouldn’t be the best entry point.
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The Grateful Dead catalogue can be intimidating, and if the myriad live releases are included, overwhelming! Having said that, ‘Europe ’72’ is a great introduction.
The GG album I mentioned, Octopus, is worth a try Christian. It is perhaps the most accessible.
Thanks, as always, for sharing your reactions!
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Thanks, Bruce. I’m going to check out “Octopus.” Perhaps, it’ll finally click with Gentle Giant. Some of the early work by Yes I now enjoy wasn’t love at first listen either.😀
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I think that’s true of much progressive rock, Christian. Indeed, it is almost what defines it, as compared to pop music. The latter is intended to be immediately accessible and digestible, while progressive music is more ambitious in terms of what it offers, and thus more likely to reward time spent unlocking its gifts. I enjoy your reports!
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It’s great to see Kush in the list. Incidentally, I heard Jeff Duff on ABC Radio whilst driving to Kingston today. A live performance and chit chat with Jacinta Parsons and Brian Nankervis. Definitely still got it.
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That’s a wild co-incidence, DD. Good to hear ‘Duffo’ is still treading the boards.
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Yrs. It surprised me. Yet the voice is going strong.
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OOH! A couple there I need to check out. We have a contributor to our ’70s blog who is into the more prog and jazz fusion end of the ’70s scene. I wouldn’t say I’m being ‘converted’ but I’m enjoying discovering stuff I ignored / passed over me back in the day.
🙂
(COLIN – LOUD HORIZON & ONCE UPON A TIME IN THE ’70s)
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That’s great Colin. It’s really enjoyable to add genres to one’s play list, right? And the Seventies was the decade of both progressive rock AND jazz-rock, so there are rich pickings.
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I found GG when I was young and still enjoy their music.
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Hey Ernie. That’s cool. Do you have a favourite GG album?
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The Missing Piece is my top pick of theirs.
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I don’t know GG and may never, but I really enjoyed your write up and word choice there…lots of little tufts I’d never heard before, in my brand of American English. Good, chewy words. Like exotic game meat.
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Game meat is remarkably close, Bill:
https://www.poetryfoundation.org/poems/42916/jabberwocky
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Ah yes there’s the source of the wabe! Thanks for that!
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Thumbs up from me for Refugee. Don’t think I’ve ever come across Kush (unless you mentioned them in an earlier post).
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Not sure they made much of an impact outside Aus.
Have a listen on youtube, Phil. If you like the reference points (esp. BS&T), it’s likely you’ll enjoy Kush.
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Yay, “Mars Hotel”! And yay, “Refugee”! And, yay, you’ve given me something unheard/unknown hereabouts to investigate, with Kush!
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Fantastic, JES. Hope you enjoy Kush!
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Ah, now I definitely want to hear “Refugee” someday. Patrick Moraz never seemed to really get enough of the respect he deserves. Too bad they only did this one album. – Marty
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True. Moraz’ solo albums are a little uneven but have fine moments, too.
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Kush wins it for me – what a brilliant LP title!
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Their second album was called “Nah, Tellus Wh’t Kush Means Yer Great Sausage”. Funny that their music was not taken as seriously as it deserved.
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I’ve never heard of Kush. You’re making me want to hear Refugee, I knew about Moraz but not the Nice guys.
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I’ll being revisiting some Larry C because of you.
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Always a good move, CB! 🙂
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