After Family concluded their second stateside tour in mid-1971 they were to again face personnel changes as John Weider (bass) was replaced by John Wetton (bass/guitar/vocals) just in time to chip in for Fearless, their sixth long-player in four years. Listeners who had enjoyed their most recent platters might have been a bit nonplussed when confronted with this disc, as the combo's direction was notably altered. Wetton brought along his trademark propulsive performance style, which is immediately evident on the heavy midtempo opener, "Between Blue and Me." Charlie Whitney (guitar/mandolin/percussion) presents some expressive strings weaving through Wetton's full bottom-end bombs. The decidedly English "Sat'd'y Barfly" recalls the inebriated vibe of lighter-weight numbers à la the Faces, and the Ladbroke Horns do little to help as a prominent tuba rhythmically poots along…

The J. Geils Band's sixth studio album, 1975's Hotline, didn't spawn any hits, didn't reach very high on the charts, and was very true to the band's formula (going back to a mix of originals and covers after two all-original albums). It is also one of their most cohesive, satisfying, and fun albums. Kicking off with one of their live favorites, a barn-burning cover of Harvey Scales & the Seven Sounds' obscure soul nugget "Love-Itis," the disc runs through hard-edged blues, funky soul, rip-roaring rock & roll, and a ballad or two. The bandmembers show no signs of letting down and sound as dedicated to their house-party ethic as ever. Along with "Love-Itis," at least half of the record would have sounded excellent blasting from AOR stations. Why none of them, like the driving "Easy Way Out," the peppy "Jealous Love," and the cold as ice "Mean Love," never got much airplay is a mystery…

Batelages is Etron Fou Leloublan's first LP, recorded in late 1976 for the French label Gratte-Ciel. It has all the flaws of a first album: meager sound quality, overlong songs, a group identity still in its infancy. Despite all that, it remains an interesting record for two main reasons. First, it is the only Etron Fou featuring original singer/saxophonist Chris Chanet (aka Eulalie Ruynat). Second, what this group was playing was completely nuts. Ferdinand Richard's bass work had already reached a virtuosic level, enough for him to lead in two cuts. Guigou Chenevier's mad drumming, neurotic, depressive-compulsive - a cross between Magma's Christian Vander and free improv's original madman, Han Bennink - challenged recording engineer Thierry Magal, who poorly captured his dynamics (with the exception of the drums solo "Sololo Brigida," crisp)…

Global reissue of 2019 Japanese SHM-CD edition.. Time Waits for No One: Anthology 1971–1977 is a compilation album by The Rolling Stones released in 1979 (released worldwide except for the U.S.). It covers the period from Sticky Fingers in 1971 until Love You Live in 1977. Only two of ten single A-sides from the period are included—"Angie" and "Fool to Cry". It was released for the first time on CD in May 2019 in Japan, making use of the standard version of the title track and the censored version of "Star Star".

Buddy Miles was not only a great soul singer, and all-around music men, he was also one of the best drummers ("The Baddest Of The Bad") of an era. He was a founder member of the Electric Flag and played the drums on Jimi Hendrix best-selling album Electric Ladyland. Live is a tour de force of funk drenched rock and soul. The intro is a manic reading of "Joe Tex" and "Take It Off Him And Put It On Me" followed by a killer version of Neil Young's "Down By The River". The album closes with a rousing reading of "Them Changes" and a funky "We Got to Live Together," almost unrecognizable from the earlier version that Miles recorded with Hendrix.

Pioneering early-70's Spanish progressive band, Granada was the musical project of multi-instrumentalist Carlos Carcamo.
For their third and final effort 'Valle del Pas', Carcamo got rid of his previous partners and recruited four new ones: Carlos Basso (guitars), Julio Blasco (bass), Antonio Rodriguez (drums & percussion), and Joaquin Blanco (bagpipes and other Northern Spanish woodwind instruments). Blanco's presence is mostly due to Carcamo's interest on exploring the Northern Spanish folklore, in order to add its peculiar Celtic spice into Granada's prog style: this is particularly noticeable in tracks 4 and 7, which are expressions of successful progressive rock translation of folk joie de vivre. But that is not to say that 'Valle del Pas' is your regular acoustic folk album. This is a prog rock album…