SWEETWATER

When you're fronted by a very strong singer who belongs in the same club as Grace Slick, Janis Joplin, Annie Haslem, and Julia Holter, your chances for success are pretty strong. So, why had I never heard of this band (except as a similar name for the made-up cover for Led Zeppelin in the Cameron Crowe bio pic, Almost Famous: Stillwater)?

1. "Motherless Child" (5:09) So, don't you want somebody to love? Lead singer Nancy Nevins has a powerful, professional voice, even if it is a carbon copy of two other iconic female singers from the same era. Nice flute play. (8.75/10)

2. "Here We Go Again" (2:34) a nice composition that, unfortunately, represents a blending of Jefferson Airplane and The Association's harmonized male choir vocals for accents/tandems to Nancy's lead. (8.75/10)

3. "For Pete's Sake" (2:53) a little jazzy ditty with great fell, harpsichord, and totally wordless choir vocals that reminds of The Mamas & The Papas. (Was Lou Adler involved with the production of this album?) Very happy and catchy. (9/10)

4. "Come Take a Walk" (3:51) a very pretty, warm and engaging song that almost feels like a white singer's attempt at a heart-felt R&B performance. Bongos, drums, gentle bass, organ and, of course, active flute support Nancy's masterful vocal. The flute, electric piano, and drum finish is very fun. (9/10)

5. "What's Wrong" (4:04) open social commentary over Latin-based rhythms and instrumentation, the whole-group choir lyrics are accented by a few individual performances--especially from Fred and Nancy. (8.875/10)

6. "In a Rainbow" (3:18) more music that sounds like Lou Adler or John Phillips might have been involved (I know they weren't) with another Latin-flavored palette over which Man! Nancy Nevins' voice sounds just like current West Coast vocal sensation Julia Holter! (9/10)

7. "My Cyrstal Spider" (3:57) Nancy moves back to her Grace Slick-like power voice over this very cool, very-creative, heavily-engineered song. A top three for me to be sure! (9./10)

8. "Rondeau" (1:19) like a pop-version of a classical choir piece. Interesting and not unpleasant. (4.33333/5)

9. "Two Worlds" (3:59) more Baroque harpsichord pop with Nancy's Mama Cass/Grace Slick power vocals; this one crossing into territory made familiar by artists like Nancy Sinatra and Petula Clark as well. The male "bah-bop" choir vocals accenting Nancy's performance from the background are also quite stereotypic for this era of music. Great instrumental palette and recording. (8.875/10)

10. "Through an Old Storybook" (2:35) delicate music from harpsichord, flute, cello, picked acoustic guitar, and tuned metal percussives precede the entry of the LETTERMEN-like gentle male choir vocals. Nancy's joinder to the choir adds a nice little nuance--sometimes with her harmonies, sometimes through her counterpoint--sounding/feeling not unlike ANNIE HASLAM's contributions to her band, Renaissance's sophisticated compositions. (9/10)

11. "Why Oh Why" (3:01) turning to a more raucous Country R&B sound and style, the band launches into a very unique and idiosyncratic song that sounds like it could come from the Carter family or some other Southern Baptist choir. Interesting--and talented! (8.875/10)

Total Time: 36:06

A very collection of very creative, very well-crafted and skillfully rendered and engineered songs that expand upon the power psychedelic rock of Jefferson Airplane and other early Latin- and Baroque pop bands. I must repeat my praise for the rather exceptional sound recording/rendering and engineering: the vocals and instruments are all so clear and distinguishable. As was the pattern at the time (especially in the West Coast music scene), there is a lot of social commentary and consciousness-raising attempts in the lyrics--especially the songs credited to Fred Herrera.

B+/4.5 stars; a near-masterpiece of very creatively-crafted and superbly-rendered psychedelic and often-sunshine pop songs. Highly recommended to any self-respecting "prog lover."