Kenny Wayne and The Kamotions - In Motion (1970 us blues)

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The Outlaw Blues Band - Outlaw Blues Band (1968 blues rock psych/prog)

A very solid, very consistent mix of light blues pop, and heavy blues rock, with psych influences and featuring some great guitar. Grades - 1 B+, 2 B's, and 4 B-'s. Track B4 stands out as a real klinker to my ears, though.From RYM (tymeshifter)

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Color Humano - Vol 2&3 (arg heavy psych/blues 72 73)

"Color Humano 3" seemed to re-find the creative songwriting of the first album, perhaps featuring a better production for their 70s' heavy prog rock, and quite interesting instrumental passages, for instance in the long "Las historias que tengo".
The tongue-in-cheek "Mañana por la noche", "Hace casi 2000 años" & "Cosas rústicas" (aka "Coto de caza") must be the highlights of this final Color Humano's album...not a big fan of the Edelmiro Molinari's vocals, nevertheless I like the album, it's quite ace during some passages, a bit so-so at times though.
Color Humano never reached the excellence of other Argentine bands of its time, like Invisible, Almendra, Vox Dei or Manal, but will be reminded as part of the idealized 70s, and for albums like this one.
From RYM (death metal doll)

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Young Flowers - 1&2 (dan 68 69 heavy psych blues)

Disk 1 tracklist: 
A1 Ouverture / Take Warning 
A2 The Moment Life Appeared, 
A3 25 Øre B1 Oppe I Træet, 
B2 To You, 
B3 Down Along the Cove, 
B4 April '68 (Instrumental) 
Disk 2: 
A1 You Upset My Baby 
A2 And Who But I Should Be 
A3 Calypso 
A4 Won't You Take My Place in the Queue 
B1 Slow Down Driver 
B2 The Daybreak 
B3 Kragerne Vender (Instrumental) 

Wow, this is an example of good Cream emulation. This is also a huge improvement over the first album. The only weak track is the opener, "You Upset Me Baby". It's relatively bland blues rock. Don't be fooled into thinking that this represents the rest of the album. The second track, "And Who But I Should Be", has a very experimental sound, with changing tempos, alternating moods, lots of phasing, a whole bunch of sound effects. It's very interesting to say the least, and, overall, it's pulled off quite well. The third track was originally an upbeat folk track called "Calypso" (from what I've read), but the reissues replaced it with the heavy-blues "Party Beat", which has a very strong Cream vibe. The next two tracks, "Won't You Take My Place in the Queue" and "Slow Down Driver", are quite simply some of the finest examples of heavy blues you'll ever hear, with an extra emphasis on "heavy". Very heavy for 1969. With extra loud fuzz. Incredible as these two tracks may be, the track immediately after, "The Daybreak", continues the heavy tone of the previous tracks. It also happens to be the best track of the album. It's hard to describe how good it is. The slow blues rhythm (which is catchy as hell) grabs your attention immediately, and the amazing solo compliments it perfectly. Pure sonic bliss for 6 minutes straight. And finally, the album ends with the 10 minute "Kragerne Vender". I used to hate this song, but it really grew on me. Unlike the rest of the album, this track is jazzy (after the bluesy first half), and not just because of the saxophone. The bass-line is easily recognisable as a jazz-rhythm, and the guitar even sounds exactly like the solo from the opening track of the Catapilla debut from 1970 (perhaps they heard this album?). Anyway, this is highly recommended to anybody that enjoys heavy rock and doesn't mind the blues. 
From RYM (Andrupchik)

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Mystic Number National Bank (same 1969 blues/psych usa)

In spite of the psychedelic title, The Mystic Number National Band were one of Kansas City's contributions to late-1960s blues rock ... Formed in 1967, the band featured the talents of bassist Russ Booth, guitarists Dave Lorenz and Bob Sebbo, and singer/drummer Glenn Walters.

Lead by Sebbo (who played lead guitar with a clubbed right hand) and Walters they were apparently quite an impressive live act becoming staples around Kansas City Westport district club circuit, collecting a cult following with performances at The Art Institute, The Place, etc. The band made their recording debut with the 1968 single 'Good Time Music' b/w 'I Put A Spell On You' (Brass catalog number 421).

The following year saw them attract the attention of ABC's newly formed progressive Probe subsidiary. Co-produced by Dick Weissman and John Turner, 1969's "The Mystic Number National Bank" had it's moments. The emphasis was clearly on blues-rock, but there were stabs at other genres including pop ('Ginger Man'), and even one forlorn ballad ('Umbrellas'). While there wasn't anything wrong with a blues-rock band, by 1969 popular tastes had already begun to move on and unless you brought something really unique to the table, your chances of breaking out were pretty slim. Needless to say, these guys didn't have that unique ingredient. The overall feel was of an album that had been recorded in a rush without enough prep time for the band, or post-production work. Many of the songs sounded like they'd been recorded in one or two takes, complete with flubs and sub-par performances. Hard to imagine that anyone was very happy with something like the instrumental 'AC/DC'.

- The appropriately titled 'Blues Jam' was exactly that - a routine Chicago electric blues instrumental number. Imagine a Paul Butterfield Blues Band outtake ... Absolutely nothing special going on here and 30 second later you wouldn't remember a thing about it. rating: * star
- 'Good Love' introduced Glenn Walters' raspy voice on an okay blues-rocker. The horns didn't really add a great deal to this one, but there was some nice fuzz guitar that offset the other shortcomings. rating: *** stars
- One of two songs penned by guitarist Bob Sebbo, 'It Will Break Your Heart' was a weird country-rocker. I don't know if Sebbo handled the vocals, but whoever it was turned in one of the most mannered deliveries I've ever heard. The way he drags out the title track simply has to be heard ... rating: *** stars
- The group penned instrumental 'AC/DC' basically served as a platform for guitarists Dave Lorenz and Bob Sebbo to wonk off for two minutes. The result was some of the least impressive soloing you've ever heard on a major label rating: * star
- The traditional blues number 'St. James Infirmary' has to be one of the dullest songs ever written and these guys added to that tradition with their extended, eight minute cover of the track. rating: ** stars
- Side two started out with the album's most mainstream rocker 'Beautician Blues' which is probably why it was tapped as a single. rating: *** stars
- Unlike anything else on the album. 'Umbrellas' found the band taking a stab at a sensitive ballad ... Um, nice try, but not a good genre for them to have pursued. The song itself had a gentle and pretty melody, but Walters gruff voice just wasn't a good match for the track. Perhaps they should have left it as an instrumental. rating: ** stars
- For what it's worth, I'd pick their cover of Geoff Mulduar's 'Ginger Man' as the album highlight. They gave the tune a surprisingly commercial spin and it would have actually been a better choice for a single than 'Beautician Blues'. rating: *** stars
- Penned by Sebbo, 'Big Boy' found the band taking on cocktail jazz ... Seriously, this one sounded like something they might have played at a local Marriott hotel. rating: ** stars
- And for the closer, back to Chicago-styled electric blues via 'Blues So Bad'. Giving credit where due, this group composition actually sported a little bit on energy. Hearing it in a small club after a couple of beers probably would have made it quite entertaining. rating: ** stars
Probe also tapped the album for an instantly forgotten single:
- 1969's 'Beautician Blues' b/w 'St James Infirmary' (Probe catalog number 457)
Sure, these guys had some talent and from what I've read, they were actually a fairly impressive live act. That said, you've got to wonder what Probe was thinking when they decided to release this one.
And that was it for these guys.
Booth died of a brain aneurysm.
No idea what happened to Lorenz.
Sebbo apparently still plays guitar, though he's retired and living in Wisconsin. He has some entertaining YouTube clips (check out Bob Sebbo and the Naughty Combo).
Walters briefly reappeared as a member of Stoneface, before recording with The Hoodoo Rhythm Devils. He then moved to San Francisco where he remains active in music having recorded a couple of solo albums and playing local events with The Glenn Walters Band (yes, they're available for weddings).
From RYM (ochsfan)

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Tayles - whoaretheseguys (1972 psych - blues)

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Thundermug - Strikes (1972 can )

Wow what a great LP! Hearing 'Page/What Would You Do?/'Father Son' still blows me away all these years later. Great band from London, Ontario Canada. I grew up in Toronto, and these guys played at one of my high school dances. Stupid me, I didn't go... Probably had a fuckin' pimple or something.

Though my face was clear for 'Bush', 'Steel River' and 'Crowbar'! Lol

I'm not sure if this LP is available on CD yet or not. I've had a few copies on vinyl over the years, and they've seen their share of my platter.

I was floored when I walked into a local store here called 'Recordland', and found 4 copies. Three were lumped together, and in pretty decent shape. The fourth was kind of hiding, and separate from the others, still sealed, and well worth the $20.00 Canadian I might add. There was also a sealed copy of their 'Orbit' LP for $20.00, and of course my drooling continued!

The opening track, 'Africa' was a minor radio hit in Canada, and maybe the US as well.

Just an incredible guitar drenched Canadian heavy rock masterpiece! The previous review sums up everything else I'd like to say! So, if you're ever in Calgary, check out 'Recordland'. They have several hundred thousand LP's in stock, and over a million LP's unfiled in the back! The store is reminiscent of 'Alladins Cave'. I'm quite sure they'd still have at least a half dozen or so 'Thundermug' LPs just sitting there.

Warning; The US issue of this LP appears the same at first glance, however the tracklisting is completely different. The US version is a compilation of Thundermug 'Strikes', and their 2nd LP 'Orbit'.

Look for the 'Axe Records' pressing, AXS 502, because this is the 'true' version.

The US compilation LP of the same name is 'BN3264'.

from RYM

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The Blues Project - Lazarus(1971 blues psych)

Tommy Flanders was long gone. Al Kooper and Steve Katz left to start Blood, Sweat and Tears leaving the band with out it's three best vocalists. What's left is great playing, good material and mediocre if not awful vocals.

The title track "Lazarus" is the highlight(it's actually sung fairly well). Danny Kalb manages to supply some good guitar on several other tracks to at least make an interesting listen. This album was repackaged with The Blues Project, which was the other Capitol label release on CD and it has a different line up that includes Tommy Flanders as vocalist.

The Blues Project - The Blues Project(1972)

In 1972 Tommy Flanders rejoined a version of The Blues Project that included Danny Kalb and Roy Blumenfield. Even though Flanders had demonstrated a tender and skilled singing voice on his own Moonstone a couple of years earlier, he referred to his heavier more bluesy voice for this.

The best song hands down is their cover of Tim Hardin's "Danville Dame", a song that is given a fine workout by the group. A few other songs are impressive and there isn't anything that doesn't work.
1:http://link-protector.com/353583/
2:http://link-protector.com/353584/