Millie Jackson cut a range of bizarre solo records throughout the 70's and 80's blending soul music and raunchy storytelling. In many cases, her reputation and live shows were more provocative than her studio output, and this record was no exception.

The Kids' debut record dared to mix Brit glam with down and dirty American-style blues rock, but for all their musicianship and charisma, it came and went relatively unnoticed by music fans on both sides of the Atlantic. They even authored (arguably) an era-defining song - the defiantly nostalgic "It's All The Same" - but maybe people were actually expecting heavy metal from these guys? There's none of that here. Just the New York Dolls with more range and bonnie British accents. Who wants to listen to that? (I do).

Gong's Flying Teapot was the first flowery salvo in a mind-expanding trilogy of records based on its' own unique, communal-based mythology. And it was probably the best. Although all three are worth hearing.

The Kinks were in a different phase at the time of this record, trying to connect more with heavier rock fans. However that went, one thing I can say about this record, it's no less cynical - and quirky - than the rest of their albums. I mean that as a big-time compliment. And I like just about every track here, except maybe "Catch Me Now I'm Falling". Certainly not a world beater but for sheer rock entertainment it's a winner.

Probably the most misunderstood scene from the early 70's was "Krautrock", which was an awful term to begin with. It's acid and/or prog rock from Germany and let's leave it at that. Which brings us to arguably the weirdest band from that scene - Amon Duul II - which sprang from an actual real hippie commune called Amon Duul. AD II recorded a near-immortal series of records spanning the late 60's and early 70's and generally, Wolf City was near the end of that run. Supposedly, one of the more conventional releases, to which I say - yeah, right! Most AD II records were massive head trips and Wolf City was no different. It was just relatively shorter than the others, with a couple of tracks that feel patched together (the title track is the worst culprit). But jeez - listen to otherworldly oddities such "Green Bubble Raincoated Man" or "Sleepwalker's Timeless Bridge, and you tell me how "conventional" this record was? Not very, I imagine. I say, in their heyday, magnificence like no other.