Archive for January, 2008

Steve Young “Rock Salt & Nails”

| Country Rock,Folk

Rock Salt & Nails

Steve Young’s first solo record, Rock Salt & Nails, is essentially stripped down, a somewhat simple recording, yet adventurous, way ahead of its time, and gorgeous. Every song’s a genuine treat, with sincerely masterful production combining outlaw country, rock, folk, blues, and a touch of gospel.

That’s How Strong My Love Is, the infinitely relistenable opener on this record, sounds just as fresh as anything from the Ryan Adams and David Rawlings collaborations, and features a careful organ part from the poster boy of country rock himself, Gram Parsons. Bluegrass standard Rock Salt and Nails gets a nice pensive treatment, and the fiddle sound on this record- it’s so dang bright and surreal sounding (I can’t help but wonder if, however unlikely, they snuck a few well-tuned Moog synthesizers into the studio!) The production doesn’t stand out, but remains ingenious, as in the restraint of those bouncy double electric guitar lines, unleashed only in the very chorus of One Woman Man. I’m unclear on whether the raga-like Coyote is more aptly titled for its lyrical content or representing Steve’s wild lonesome howl on each stanza. And if you let Love In My Time take you with it, it will. A short song but so effective with the all-for-it gospel backup, it’s a great example of Steve Young’s solid, unwavering vocal power. Seven Bridges Road, conveniently placed at track 7 on this disc, is his most well known tune though not from this rendition, but the Eagles’ cover version.

The reason I love this record is for its subtlety in production, a wonderful interplay of country licks hovering at just the right level, creating a playful and relaxed musical atmosphere. The warm, fuzzy strings adding mood and color. Holler In The Swamp, a brilliant tune with full rock band, feels like it could take right off; the musicians behind the wheel of this record simply nail it with an understated drive, the intensifying string section making you want more and less at the same time. It closes with a mighty fine version of Hank Williams’ My Sweet Love Ain’t Around, and it’s nice to know that it’s Gene Clark blowing harp in your headphones.

Some will debate the nature of authenticity in music, but if anything is ‘authentic,’ I know that it’s this classic, country-rock shaping LP. Shamefully out of print for so long, you might construct the album for yourself by combining the mp3s below with Lonesome On’ry & Mean, an overview compilation of Steve Young’s works.

mp3: Coyote
mp3: Love In My Time

mp3: Gonna Find Me A Bluebird
mp3: Hoboin’


[ Buy “Lonesome On’ry & Mean” from Amazon]

Bob Lind “Since There Were Circles”

| Americana,Country Rock,Folk

Since There Were Circles

This is a really interesting release, and a perfect example of how important it is to support well-designed reissues. I can’t figure out why Richie Unterberger trashes the album, causing me to believe it may have been a hit-and-run by one of my favorite reviewers; 2 stars (allmusic) is off the mark for this fine, fine record.

City Scenes makes a perfect album opener. Introducing the modest, effective orchestra of driving acoustic guitar, piano accents, electric slide guitar, and laid-back drum kit (not to mention players The Dillards, Bernie Leadon, and Gene Clark), Lind immediately wraps his nice voice around poetic storyteller verses. It closes with an unexpected little treasure of an outro, adding a sweet, smooth french horn line. Fine songcraft.

Listening to Loser, I can’t help but imagine Lind as a roots-rock David Bowie; either by inflection of the voice or it’s the lyricism, perhaps, they are kindred spirits. Bob keeps it pretty soulful and groovy on tracks like She Can Get Along, with its vocal workout ending, and the lazy Not That I Would Want Her Back, featuring more orchestral backing on the choruses. The softer numbers are melodic gems that will stay with you. Theme From The Music Box and the title track, Since There Were Circles, are melancholy and wonderful. Five bonus tracks supplied by Bob Lind himself stand apart from the flow of the album, but stand strongly on their own.

Get yourself this beautiful 2006 reissue from the fine UK label RPM Records and give it up to Bob Lind, who certainly had much more music left in him after his 1966 #5 folk hit, Elusive Butterfly. I keep coming back to this esoteric beauty.

“Loser”

[ Buy from Amazon | Buy from RPM Records | BobLind.com ]

Brinsley Schwarz “Silver Pistol”

| Americana,Country Rock,Folk,Pop

Silver Pistol

This was the Brinsley’s first acknowledged classic, Silver Pistol, released in 1972. To me, Brinsley Schwarz is the best rock music Nick Lowe has ever made though I know many new wave fans will disagree with this statement, favoring his 78-79 solo material.

The Brinsley’s began making records in 1970 with more of a rambling late period psychedelic jam band approach. Silver Pistol is when the band really came into their own with some outstanding original material from Nick Lowe that recalled the intimacy of the Band. Though unlike the Band, many of these songs have more of a reckless punch and new guitarist/songwriter Iam Gomm contributes four great, driving country-rockers to this impressive set.

While 72’s Nervous On The Road is usually cited as their finest work, I think Silver Pistol is just as good with creative songwriting and wonderful songs. Tracks like Merry Go Round have a warm downhome feel with jangly McGuinn style rickenbacker guitar chords and prominent Garth Hudson influenced organ playing. Egypt even seems like it could have been a lost outtake from the first couple of Band albums, it’s that stellar and full of cerebral organ work. In Dry Land the band really nails down the American country-rock sound while sounding individual and completely original. Another song, Nightingale is a very beautiful, personal statement that features accordian and beats most U.S. bands in the Americana sweepstakes.

Following the Silver Pistol lp, Brinsley Schwarz made three other great albums and eventually broke up around 1974-1975. They, along with Eggs Over Easy, are considered the founding fathers of England’s early 70’s pub rock movement. These groups played an English version of U.S. country-rock throughout England’s numerous, local pubs. I think pub rock can be a little more aggressive at times then U.S. country-rock and most of these groups found their main inspiration from the Band. It’s also important to note that on Silver Pistol the Brinsley’s cover two Jim Ford tunes. Jim Ford released one very good solo album in the early 70’s and during the Silver Pistol sessions was a key influence to Nick Lowe and Brinsley Schwarz.

In 2004, BGO (Beat Goes On) reissued the excellent Silver Pistol along with Please Don’t Ever Change (another good one). These albums are essential to fans of roots music and country-rock and have a ragged charm that’s all their own.

“Nightingale”

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Aorta “Aorta”

| Art,Pop,Psych

Aorta

Aorta was a highly talented rock band from Rockford, IL that released two albums throughout 1969 and 1970. The band was originally known as the Exceptions, a popular soul rock group that played around the Chicago area and released a handful of singles. It’s interesting to note that the Exceptions had at one time included future members of H.P. Lovecraft (another great Chicago psych band), the New Colony Six, Chicago, The Buckinghams, and Illinois Speed Press. The Exceptions eventually morphed into Aorta when band members felt a more progressive direction was needed.

In 1969 Columbia released this startling record which was a mix of psychedelia, soul, jazz, folk, and rock. The album was housed in a beautiful, graphic sleeve that has always overshadowed the great music from within. Musically speaking, Aorta’s sound comes close to Boston band Listening or even the more psychedelic aspects of early Blood, Sweat and Tears during its Al Kooper phase. There seems to be some kind of concept that reoccurs under the Mein Vein theme. Aorta is solid throughout though, featuring strong musicianship, inventive studio wizardry, superb songs with a healthy dose of fuzz guitar and wonderful string and horn arrangements.

Some songs like Heart Attack and Ode To Missy Mxyzosptlk have lots of organ and are very early stabs at what would later be coined progressive rock. Ode to Missy has some intense guitar solos and a great studio psych out ending that will put your stereo speakers on overdrive. A personal favorite is the more restrained Sprinkle Road to Cork Street, which is a dramatic folk-rock track with horns and a beautiful medieval-like intro. Trippier tracks like the spooky Catalyptic with its ethereal, acid church organ work extremely well too and make it clear that these guys could play any style of music well. What’s In My Mind’s Eye is a great lost piece of psychedelic pop that has really cool disembodied vocals and a prominent horn arrangement.

Aorta may seem grandiose and even downright indulgent at times but make no mistake this really is a great lost record. Vinyl originals are easy to come by and sell relatively cheap on Ebay as Aorta was a very popular local band. Both albums have even been reissued on CD a few years back and more recently as a digital download. Conclusion: definitely pick this great album up if you’re looking for some far out, wild psychedelia with a hint of early progressive rock.

“What’s In My Minds Eye”

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Love “Forever Changes”

| Folk,Psych

Forever Changes

I think everybody must remember where they were the first time they heard Alone Again Or. For me it was a high school summer, driving my car, just marveling at the beautiful guitar line and mariachi rhythms, and the building drama of the chorus that goes so close to the top and never over. Any sucker riding shotgun over the next two months would be subjected to this powerhouse lead-off track from Love’s third record.

It’s important to not let Alone Again Or overshadow the rest of this classic disc. The masterful songs on Forever Changes manage to accept and transcend the sound of the era. In a Los Angeles scene where the Byrds were absent heroes and the Doors would shortly become immensely more popular, Love was and will remain the coolest, baddest group from this time and place.

Forever Changes is one of those albums where every moment of sound is as thoughtful as the last. The tunes are led with an acoustic rock combo and string orchestra with horns. Lyrically, the album represents both the light and dark sides of the 60s; these were reportedly Arthur Lee’s last words, as he believed he was soon going to die, and in reality his band was falling apart.

Tracks like Maybe The People Would Be The Times Or Between Clark And Hilldale drive with a southern California sound forged by Love, part folk-psych and nearly part tropicalia. Lee’s voice is authoritative but welcoming on A House Is Not A Motel and lean electric guitar leads provide quintessential psych sounds. The poetry can get dark sometimes, in The Red Telephone with its suicidal hint, but it remains somewhat down-to-earth when “The snot has caked against my pants…” opens Live And Let Live.

I have read all manner of scandal from contemporaries of Love, including one wondering why the band hadn’t chosen Hate for their band name. Their story, revolving around the genius of Arthur Lee won’t equal the story told on this record; while not a concept album or rock opera, it gives an eerie glow of some tale, or lesson never learned. A beautiful, haunting suite.

“Maybe The People Would Be The Times Or Between Clark And Hilldale”

:D CD Reissue | 2008 | Rhino | Collectors Edition | buy from amazon ]
:) Vinyl | Elektra | search ebay ]

Embryo “We Keep On”

| Prog,Psych

We Keep On

Embryo are a brilliant Krautrock band that began in the late 60’s, creatively flourished throughout the 70’s and are still making great music today. While contemporaries the Tangerine Dream and Kraftwerk pioneered electronic rock and Can were content exploring the avant garde fringe elements, Embryo favored a jazzy form of space rock with very strong elements of world music.

Christian Burchard has always remained the constant throughout Embryo’s long, varied career. On this recording he is the lead vocalist and also plays mellotron, vibraphone, percussion, drums, keyboards, marimba, mellophonium, bass, guitar, and saz. We Keep On is often regarded as Embryo’s masterpiece, an overwhelming lp mining West African rhythms that reach deep into unexplored regions of your mind. Burchard’s vocals are strange and unconventional in an almost proto new-wave way. The first song, Abdul Malek, sounds like nothing I have ever heard before and should really appeal to psych fans (take note of the acoustic raga riffs) even though this is a 1973 release. Don’t Come Tomorrow is another good trancey song with understated mellotron, piano, vibes, and interesting bamboo flute courtesy of Charlie Mariano.

The lp is divided evenly between instrumentals and vocal tracks (there are 6 songs in total and 2 extra on the recent reissue by Disconforme). No Place To Go features crazed Burchard vocals and some fabulous jazz guitar playing while other tracks like Hackbrett-Dance and Flute and Saz tap into something new and totally original. In 1975 Miles Davis had this to say about Embryo, “That German hippy group where Mal Waldron used to play; they are doing interesting things. You know, man? They are good musicians, just playing good shit!” This was the ultimate compliment coming from a jazz master and a good enough reason to check out this great, lost album.

“Abdul Malek”

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