Another lovingly curated rock & roll gem from Cherry Red's archival Grapefruit Records imprint, A Slight Disturbance in My Mind is an expansive three-disc set entirely devoted to the opening phases of Britain's budding psychedelic movement. By late 1965, the American underground, particularly San Francisco's LSD-inspired drug culture, had begun to infiltrate popular music. The Byrds and other West Coast groups began to adopt a more experimental attitude while in the U.K. bands like the Yardbirds and, more prominently, the Beatles forged their own new directions away from rock's more easily digestible conventions.
Change is good. Change is important. Change is the enemy of stagnation, a vital means to keep things fresh, innovative and exciting. For TAX THE HEAT, ‘change’ means something else too. The title track of the acclaimed British band’s stunning new album, »Change Your Position«, sees them addressing the turbulent state of the world right now and the very real impact it is having on people. “It’s looking at division in society and people using it as an excuse to do wrong and say wrong,” says singer and guitarist Alex Veale. “It’s saying, ‘Look, change your position.’ It’s holding up a mirror to things.” Fittingly, »Change Your Position« - recorded once again with maverick producer Evansson - represents a huge leap forward for TAX THE HEAT, who are completed by guitarist JP Jacyshyn, bassist Antonio Angotti and drummer Jack Taylor.
This was the last of the six albums John Mayall originally made for Blue Thumb/ABC Records between 1975 and 1978, about which he has said, "ABC released six of my albums as a tax write-off. A week after they were released you couldn't find them in any store." It's a live album on which Mayall fronts a quartet consisting of guitarist James Quill Smith (who sings lead on several songs), bassist Steve Thompson, and drummer Soko Richardson. The approach is rock-oriented, and the set list includes such Bluesbreakers favorites as Mose Allison's "Parchman Farm," and Freddie King's "Hideaway" (taken at a frantic tempo), along with the usual complement of generic Mayall originals, among them, a remake of "The Bear," from Blues From Laurel Canyon.