Mellow Gypsy

John Hammond has kept the blues flame burning steadily for over three decades. His interpretations of songs from the traditional blues repertoire, whether played Delta-style solo acoustic, or with a citified electric band, ring with passion, power, and commitment. On this 1981 album, he is accompanied on the band tracks by a topshelf New York group, including bassist Sherman Holmes and drummer Charles Otis.

Think of Canadian rock bands and Rush probably spring to mind, as would Steppenwolf and Triumph. All fantastic bands. That's not to take anything away from April Wine, who in terms of output (if not success), must rank alongside the aforementioned. Classic hard rock that is really worth checking out….

Black Widow's eponymous second album was a conscious attempt on the band's part to scale back the satanic trappings that had dominated its debut, and, in the process, redirect the media's focus away from the controversy and onto the group's music. Too bad their songwriting vision remained at worst unfocused, at best an enigma: a half-baked amalgam of progressive rock, folk music, British blues, and - least of all - a few very tenuous notions of hard rock and proto-metal that have since erroneously formed a common misconception of the band, due to their business ties to Black Sabbath and, of course, their on and off interest in the dark arts. The last is only really felt here in the creepy, gothic appeal of "Mary Clark," and the closest Black Widow come to really rocking out is with the refreshingly straightforward format of the driving "Wait Until Tomorrow"…

A combination of three sessions with three different small backing groups available currently on a Japanese CD - this is an early revealing example of Anita O'Day's growth as a jazz artist since her days as a big band thrush. Her virtuosity at fast tempos is right on the dot, and she is fearlessly willing to take wide-open liberties with the melodies. The tune of "The Man I Love," and for instance, is completely taken apart and personalized; you wouldn't even recognize it were it not for the words. O'Day also shows us her vulnerable side in a remarkable on-the-edge performance of "You Don't Know What Love Is," and she gives listeners a rare taste of her songwriting in "Anita's Blues." Barney Kessel and Tal Farlow sit in on guitar on four tracks apiece; the other four are with piano trio. Low-key, modestly produced, this is best heard as directed - in the evening.

Black Widow's eponymous second album was a conscious attempt on the band's part to scale back the satanic trappings that had dominated its debut, and, in the process, redirect the media's focus away from the controversy and onto the group's music. Too bad their songwriting vision remained at worst unfocused, at best an enigma: a half-baked amalgam of progressive rock, folk music, British blues, and - least of all - a few very tenuous notions of hard rock and proto-metal that have since erroneously formed a common misconception of the band, due to their business ties to Black Sabbath and, of course, their on and off interest in the dark arts. The last is only really felt here in the creepy, gothic appeal of "Mary Clark," and the closest Black Widow come to really rocking out is with the refreshingly straightforward format of the driving "Wait Until Tomorrow"…