The early 70's saw a genre of film that involved rural America, country bumpkins, as it were. One of the best was Southern Comforts. These movies really exist as an excuse for the women to get naked, and get naked they do. There are 3 main girl characters who get stranded in the sticks when their car breaks down.
The impeccable steel guitar sound of the great Russ Hicks is the driving force behind Barefoot Jerry, whose 1971 debut Southern Delight and self-titled 1972 follow-up make up this welcome reissue.
"Country Cuzzins"A young woman living in L.A. goes back to her family's homestead way up in the mountains for a family reunion. At first put off by her relatives' hillbilly ways, she soon decides to let her hair down and join in the fun. Before she leaves she invites them all to stop by her place in Los Angeles if they're ever in the area. They soon are, and they do. "Midnite Plowboy" Junior comes from the country to Hollywood where he soon ends up living in a house full of prostitutes. As payment for his rent, Junior is assigned the task of driving the girls around in a van that doubles as a place to have sex.
Without greatly altering his approach, Rod Stewart perfected his blend of hard rock, folk, and blues on his masterpiece, Every Picture Tells a Story. Marginally a harder-rocking album than Gasoline Alley – the Faces blister on the Temptations cover "(I Know I'm) Losing You," and the acoustic title track goes into hyper-drive with Mick Waller's primitive drumming – the great triumph of Every Picture Tells a Story lies in its content…
Stanley Turrentine's stint with Creed Taylor's CTI label may not have produced any out-and-out classics on the level of the very best LPs by Freddie Hubbard, Hubert Laws, or George Benson, but the bluesy tenorist's output was consistently strong and worthwhile for all but the most stridently anti-fusion listeners. Salt Song was Turrentine's second album for CTI, and while it's perhaps just a small cut below his debut Sugar, it's another fine, eclectic outing that falls squarely into the signature CTI fusion sound: smooth but not slick, accessible but not simplistic. In general, keyboardist Eumir Deodato's arrangements have plenty of light funk and Brazilian underpinnings, the latter often courtesy of percussionist Airto Moreira.