Harvey Mandel - Cristo Redentor

Harvey Mandel is a fantastic guitarist who never settled in a band, although his talents would not have been out of place in virtually any rock band of any kind of the late 60s or 70s. This was his debut album from 1968, and is an intrumental psych blues rock bonanza. The opening track, a version of the old gospel blues track 'Wade In The Water' shows off a variety of styles: he comes in with a filthy fuzz tone over a strings and rhythm groove, before switching to a clean tone to demonstrate his trademark liquid style of play, using volume pedals, panning and delay to awesome effect. This is a real guitar-heads album, with some glorious guitar tones, and some ridiculous sustain that out-Santanas Carlos Santana. It's also beautifully recorded, with a crystal clear mix, and is a joy to listen to. There are great string arrangements aplenty, and the layering of Harvey Mandel's guitar lines is genius: the wah stomp of 'Bradley's Barn' has some scintillating backwards guitar over the top as well as some unusual low end dive bomb noises. The gloriously expressive 'You Can't Tell Me' is even better, as sweet phrases flow into and over one another over a great groove. The sound palette is expanded on a few tracks: the title track has a female choir, and sounds like a prog synthesis of Nelson Riddle and Santana. Then 'Before Six' comes on like fuzzed out acid jazz, with some tremendous horn section blasts and Jimmy Smith type organ duelling with the guitar, and the best bass and drum rocking out of the album. Looking at the sleeve notes, this appears to have been recorded all over the place, and the producer credit says "Believed to be produced by Abe Kesh'. It's amazing that there is such a unity of (fantastic) sound, and that the album has such a strong identity.
Harvey Mandel released a few more solo albums in the following years, and the one I've heard are all pretty decent - they toned down the psychedelic elements a bit, and became slightly more jazzy - Feel The Sound, Shangrenade and Baby Batter are all worth checking out. Lastly - check that classic cover! I'm pleased I've also got this on vinyl.
I haven't included the bonus tracks - buy the cd!

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Sonic Boom - Spectrum

Sonic Boom's first solo album after leaving Spacemen 3 continues in pretty much the same vein, and has some really great stuff on it. The kind of wasted-on-drugs/gospel vein runs through virtually all of Sonic and Jason's work, borrowing liberally from blues music (Lonely Avenue); although in this case the presentation is pretty lo-fi, with drum machines and trashy organ accompanying the fuzz and reverb guitar. The formula is often incredibly simple, as on 'You're the one' - a simple riff is repeated, and the layers of fuzz guitar/organ are gradually turned up until the tune is rocking nicely. The only track that deviates slightly is my favourite track on the album, a masterpiece, and a worthy successor to 'How Does It Feel' from 'Playing With Fire'. It has a flotation tank feel, with a heartbeat-like pulse, some guitar loops, and distantly spaced keyboards. Occasional descending bass notes, chimes, and some brilliant use of reverse echo embellish this moody yet blissful track. It really does evoke the feeling of someone drifting off this mortal coil in an incredibly smashed state.
I saw Sonic Boom perform this a couple of years back - it was pretty special, even though his vocals haven't really improved over the years ( I like them for what they are). I can also recommend seeing the current incarnation of Spectrum. I saw them last year and they were excellent: it was a joy to behold excellent live versions of 'Transparent Radiation' and 'Revolution'. I was lucky enough to see Spacemen 3 once, and I must have seen virtually every spin off band since, including Spectrum in 1990, and even The Darkside. I seem to recall that Sonic supported My Bloody Valentine at ULU, accompanied by some bloke with a harmonica.

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Dr John - The Sun, Moon And Herbs

Brilliant 1971 album from the swamp voodoo soul blues-meister from New Orleans. Dr John made a pretty consistent transition from the spooky twilight sounds of 'Gris Gris' to fairly standard (but still excellent) rocking R&B of mid 70s albums like 'Desitively Bonnaroo'. This album still retains some of the oddness ('Craney Crow' and 'Zu Zu Mamou' reprise the smoky voodoo feel of the previous album), and definitely the more sprawling arrangements of 'Gris Gris' - loping grooves sway along without a care in the world, in no rush at all. Dr John is in fine voice, and the interplay with the female backing group is fabulous. Everything is driven along by superb horn arrangements in a quite joyous fashion. An immensely enjoyable album, definitely recommended for lifting the spirits.

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