Arkadas Friend (1974) [repost]

On their third album, Lucifer's Friend took a new tack: instead of being a progressive band or a hard rock band, they decided to incorporate both styles into a more ambitious sound that also worked in elements of soul and jazz. The resulting album, I'm Just a Rock 'n' Roll Singer, lacks the coherent flow that defines a good album but offers an array of tuneful, well-crafted tracks nonetheless. By this time, the band had learned to make their songwriting the focus of each track and tamed the instrumental soloing that overwhelmed Where the Groupies Killed the Blues.

Esoteric Recordings America is pleased to announce the release of a newly re-mastered and expanded clamshell box edition of the classic album, Turn of the Cards by Renaissance. Released in 1974, the album was an artistic triumph and heralded the band’s commercial breakthrough in the United States.
Featuring highly gifted vocalist Annie Haslam, Michael Dunford (acoustic guitars), John Tout (keyboards, vocals), Jon Camp (bass, vocals) and Terry Sullivan (drums, percussion), Turn of the Cards was recorded in March 1974 at De Lane Lea studios in Wembley, North London and featured the band incorporating symphonic orchestral arrangements into their material extensively on classic pieces such as ‘Running Hard’, ‘Things I Don’t Understand’ and ‘Mother Russia’…

Joe Walsh's catalog by this point was two albums strong and of a consistently high quality. Despite a change of lineup for So What – a wide range of musicians is used, including the Eagles' Don Henley – the sound is very similar to previous releases. A number of classic Walsh tracks are featured, including a more polished version of "Turn to Stone," originally featured on his debut album, Barnstorm, in a somewhat more riotous style. "Help Me Thru the Night," Walsh's mellowest song to date, is helped along by some fine lead and backing vocals from the band. So What sees Walsh in top form as a guitarist. Most of the nine tracks feature solos of unquestionable quality in his usual rock style. The classic rock genre that the man so well defined with his earlier albums is present here throughout, and it is pulled off with the usual unparalleled Joe Walsh ability.

This USA duo formed in Cleveland during the early/mid 70's by Royce Gibson on drums and the multi instrumentalist Joe DiFazio on everything else. Their style is mostly the blending of Symphonic influences like Camel, ELP, etc with some Fusion and a bit of the sound of the Moody Blues and Hard Rock by moments.
Some places consider them Symphonic, others Psyche or even Jazz oriented, but the important thing is that they recorded an excellent album.

Sweet Smoke Live is the third release from the progressive jazz rock band Sweet Smoke. Released in 1974 it was their second record to feature only two tracks, the first being their debut effort Just a Poke. It showcases the band's live talents with extended jamming, the guitar solos are the showcase. It was recorded live in Berlin, Musikhochschule. The last track is actually two songs that were combined during the LP engineering. The tracks were later listed separately when three additional tracks were added to the 2001 CD re-release. After the 1997 CD re-issue had already used a different cover than the original LP, the cover for the 2001 re-release was changed again, re-using the typographical design of the LP cover.

The band's best studio album, coming off of the success of Space Ritual. The group's rock roots are juxtaposed effectively with the swelling synthesizer flourishes and pretentious song ideas, creating the quintessential guitar-oriented space rock record. The highlight was the live recording of "You'd Better Believe It," with its crunchy guitars, but nobody minded keyboardman Simon House's languid synthesizer-laden "Hall of the Mountain Grill" (especially as it was followed by the Lemmy-sung "Lost Johnny," a great all-out rocker). The sound, especially the mix of ballsy high-volume guitar playing and soaring electronic keyboards ("The Psychedelic Warlords," "D-Rider"), would later get co-opted by outfits such as Blue Öyster Cult ("(Don't Fear) The Reaper") and Kansas…

One Man Dog drastically lowered expectations for a new James Taylor album, and those expectations were almost met by Walking Man, a more considered effort than its predecessor that managed to be just as trivial but even less interesting…