Archive for May, 2012

Douglas Dillard “The Banjo Album”

Douglas Flint Dillard died in a Nashville hospital on May 16th, 2012, at the age of 75. He never became a household name – doesn’t even rate a personal Wikipedia page – but that was probably fine by this self-effacing, self-mocking virtuoso musician. On the plus side, he survived to an age not achieved by so many of his peers whose names are more widely celebrated. Sometimes it’s better not to become a rock’n’roll legend, especially if it’s posthumously.

Hailing from deepest Missouri and starting out as a bluegrass purist along with guitarist brother Rodney as the eponymous Dillards, Doug became part of the West Coast country-pop revolution of the late 60s, initially as a session player (it’s probably him on the Monkees’ “What Am I Doing Hanging Round”, although Peter Tork could handle the five-string instrument quite capably) and then as a band member touring Europe with the Byrds playing the Sweetheart Of The Rodeo material. Prior to the tour Doug struck up an enduring friendship with former Byrd Gene Clark, contributing to Gene’s album with the Gosdin Brothers, and on his return jam sessions with Gene, Bernie Leadon and Don Beck led to his own Banjo Album.

Coming as it does between Sweetheart and Dillard & Clark’s peerless Fantastic Expedition, the humdrum-titled Banjo Album occupies a seminal place in the evolution of country-rock, as the instruments and players of the standard bluegrass ensemble go in search of new and uncharted musical areas to occupy whilst taking a rockin’ sledgehammer to the traditional lightweight bluegrass sonic envelope. The historical notes by Joe Foster to the present CD put it more dramatically: “Eclectic is certainly a good description . . . jazz drums, harpsichord, djembek, tablas and various sound effects, as well as a manic attack poised somewhere between Earl Scruggs and the Ramones”. Amen to that. And yet despite the frenzied presentation of the numbers – most of the tracks rush along at breakneck pace and clock in at around two minutes – the oddball instrumentation and the thick rock production, this remains an instrumental bluegrass music album at heart. Bill Monroe fans have nothing to fear.

Whilst credited to Douglas Dillard, this is a genuine band effort: Doug on the five-string plus the core combo of Leadon on acoustic and electric guitars, Beck on Dobro, John Hartford on fiddle and Red Mitchell on upright and electric basses. LA session veteran Andrew Belling contributes the harpsichord licks, future longtime Ry Cooder companion Milt Holland adds drums and exotic percussion and there’s a cameo from Gene Clark on harmonica. Departing on “Train 4500”, surely one of the best musical train simulations ever recorded, the journey takes us through a landscape of familiar and rare traditional tunes spiced with Dillard’s piquant arrangements. Sometimes only the timbre of the instrument reveals who’s soloing, as Beck and Belling can both whack out the triplets damn near as fast as Doug. The other high spots are “Clinch Mountain Back Step” on which Doug slurs the notes like the skirl of bagpipes, never missing a triplet roll even through the deliberate lurch in the rhythm, and the closing Dillard/Leadon original “With Care From Someone” with its distinctly non-bluegrass descending chromatic minor chord progression, on which all the protagonists get a chance to solo and Belling produces some revolutionary rock harpsichord. The bonus track on the Rev-Ola reissue is “Runaway Country”, the one-off track Doug contributed to the movie Vanishing Point with scorching assistance from Byron Berline and Billy Ray Latham of Country Gazette.

After the high-water-mark of Fantastic Expedition Doug’s career would settle into a comfortable stream of sessions with just about every country-flavoured performer in California and subsequently Nashville, intertwined with recordings and live appearances with a procession of reformed Dillards, New Dillards, Doug Dillard Bands and Rodney Dillard Bands until Doug became too ill to perform around 2010. If his epitaph be sought, it’s probably fair to say that every subsequent outfit from the Nitty Gritty Dirt Band to Bela Fleck & The Flecktones that’s twisted the tail of banjo-powered country music into new and unfamiliar shapes can be said to owe a debt to what Doug and Co. did on The Banjo Album.

mp3: Train 4500
mp3: Clinch Mountain Back Step

😀 Reissue | 2012 | Floating World | buy here ]
:) Original | 1969 | search ebay ]

PODCAST 26 Garage,Pop

 

I Want to Hold Your Hand (1968-) – The Moving Sidewalks
Naughty Girl (1965/1966) – The Missing Links
Sad and Lonely and Blue (1966) – The Easybeats
I’m On Fire (1968-) – The Easybeats
Calm Me Down (1966) – The Human Expression

Her Face (1966/1967) – Steve Ellis and the Starfires
You Lied To Me Before (1966) – The Treez
You’re Too Young (1965) – The Vagrants
I’ll Come To You (1967) – The Elite
Gone To The Moon (1966) – The Savages
Out of the Question (1967 – from the Future LP) – The Seeds

Download: Podcast26.mp3
To subscribe to this podcast: http://therisingstorm.net/podcast.xml [?]

Dillard

Skip Battin “Topanga Skyline”

It took a while longer to appear than expected, but Skip Battin’s second solo album has finally surfaced on CD after thirty-nine years. The explanations for its shelving in 1973 include, depending on whom you read and believe, (a) the vinyl shortage resulting from the oil embargo following the Yom Kippur War, (b) the cancellation of the fall-of-‘73 national tour featuring Skip, Gene Parsons, Gram Parsons, Clarence White and Country Gazette through various city fathers vetoing the presence of “longhairs”, or (c) loss of heart in the recording project following the death of Clarence. Following Skip’s own passing in 2009, his son Brent negotiated with California’s Sierra Records to issue the “lost” album posthumously in celebration of the fortieth anniversary of Skip’s first appearance with the Byrds. Three years further on, we finally have it, and it’s been worth the wait despite the sad circumstances of its gestation and publication.

Clarence was killed on July 15, 1973, three days before recording was due to begin, but the sessions went ahead nevertheless. In place of the various Byrds alumni who backed Skip on his eponymous debut set, he received the services of members of the redoubtable Country Gazette and assorted friends: Bob Beeman and Herb Pedersen (acoustic guitars), Chris Etheridge (RIP April 23, 2012 – bass), Byron Berline (fiddle), Alan Munde (banjo), Roland White (brother of Clarence – mandolin) and Mike Bowden (drums), and in Clarence’s place came Al Perkins from the Souther-Hillman-Furay Band on electric guitar, pedal steel and Dobro. A more capable combo could not have been wished for, and the album resonates with their flawless musicianship behind Skip’s down-home Dylanish vocal and piano. If there was an atmosphere of sadness and loss in the studio, it doesn’t show in the music, which is relentlessly upbeat and powerful on the fast tunes and warm and sympathetic on the ballads. The bluegrass players shine both ensemble and as soloists, and Perkins’s contributions are remarkably assured given his last-minute drafting. Production by Skip’s longtime writing and recording partner Kim Fowley is exemplary, as you’d expect.

The CD package as released by UK imprint Floating World on licence from Sierra includes the nine original studio tracks completed before the decision to abandon. These are split between typically idiosyncratic Battin/Fowley country-rock originals – “Bolts Of Blue”, “Don’t Go Down The Drain”, “Stoned Sober” – and supercharged bluegrass covers – the Morris Brothers’ “Salty Dog Blues”,  A.P. Carter’s “Foggy Mountain Top”, the traditional ”Roll In My Sweet Baby’s Arms” – plus a truly inspired reworking of the old 1959 Olympics hit “Hully Gully”. In addition to these there are several bonuses. “Willow In The Wind” and “China Moon” are taken from Skip’s 1981 album “Navigator”, an Italian-only release featuring Sneaky Pete Kleinow on pedal steel. The ghost of Clarence walks on an alternative version of “Roll In My Sweet Baby’s Arms” and on “Old Mountain Dew”, two rehearsal tapings which are thought to be the last recorded work Clarence ever laid down. Rounding the package out is a short mpeg of a clean-cut Elvis-quiffed Skip performing solo on a 1965 Californian TV show similar to Ready Steady Go on which he lip-synchs a couple of pre-British Invasion teenypop songs, “Searchin’” and “She Acts Like We Never Have Met”. All in all, then, a lot of Skip for the money and well worth the investment if you’re interested in the long and varied career of this fine musician, in which case you’ll also want to see this astonishingly comprehensive history, rare photos and discography.

mp3: Bolts of Blue
mp3: Salty Dog Blues

😀 Reissue | 2010 | Sierra | buy here ]

The Ace of Cups “It’s Bad For You But Buy It”

San Francisco’s the Ace Of Cups deserves mention in these pages because the band occupies a singular place in rock history. It wasn’t the first all-female self-contained rock outfit to achieve public recognition; elsewhere on this site you’ll find mention of the Liverbirds, one of several all-girl groups playing their own instruments who came out of Liverpool during the British Beat Boom. But the Ace Of Cups, whose name derives from the eponymous Tarot card, is generally acknowledged as the first female rock band anywhere to truly gain the recognition of its (male) peers, and to share stages and theatres with its top-flight contemporaries. You can see the Ace playing live in the Haight in Jack O’Connell’s quasi-documentary hippie film Revolution (1968-); inter alia, they perform alongside Country Joe & The Fish, the Steve Miller Band and Quicksilver Messenger Service. And these are not just five doe-eyed, flaxen-haired hippie chicks doing it wistfully; they’re full-on female Rolling Stones wannabes, sassy, sexy and unashamedly beating seven bells out of their equipment. The excellent liner note of the present CD lists many of their other onstage and offstage companions, most notably Jimi Hendrix, Mike Bloomfield, Ralph Gleason, Jann Wenner, the Sons Of Champlin, Steppenwolf, the Band, the Dead and the Airplane. You didn’t move in much higher company than that in ’68 San Fran.

Onstage the focus was on raw excitement rather than virtuosity and the visual centrepoint was usually diminutive Denise Kaufman, sneeringly intoning the lyrics from behind an enormous Gibson Tal Farlow jazzbox or blowing a blueswailing harp. Musically the strongest areas were the muscular jazz-punk organ work of Marla Hunt – sort of Jimmy Smith meets the Mysterians ­- and the choral-quality harmony vocals of all five protagonists, stemming from a seam of gospel that ran through their otherwise British Invasion and Stax soul-influenced repertoire. Their recorded legacy rambles from the garage R’n’B of “Glue” – a witty attack on conventional society values – and “Stones” – an unabashed paean to the Rolling Ones – through the five-part acapella “Music” and a rocked-up, organ-dominated cover of Mongo Santamaria’s “Afro Blue” to the pure funk-rock of “Circles” and the minor-key bluesy soul of “Simplicity”.

Notwwithstanding all of which the present CD, released in 2003, is the first time the sound of the Ace Of Cups has been available on record, and that’s because despite their celebrity around the hotspot that was the late 60’s Bay Area the Ace never managed to visit the inside of a professional recording studio. Several labels showed interest in signing them in the early days but manager Ron Polte insisted in holding out, supposedly to allow the band to develop their sound further before committing to wax, but in reality for better deals. As it turned out, he held out too long. By the time they achieved a really consistent standard around 1969 the offers were still there but at that time an almost universal condition of a contract was an undertaking to tour nationally and heavily to promote the album, and by then some band members had become mothers. The original lineup splintered soon after, quoting reluctance to take their new families on the road and disillusionment with the corruption and decay of the Haight scene. An Ace Of Cups of sorts lingered on until 1972 with revised lineups that included male players. The present CD was assembled by the Big Beat subsidiary of the UK’s estimable Ace Records from sundry demos, rehearsal room tapes and live and TV recordings by the original lineup. It has to be said that because of their sources the sound quality, and indeed the warts-and-all singing and playing, of some of the earlier tracks leaves a lot to be desired, but their historic nature and their intractable energy make them essential listening for students of the golden age of West Coast Rock. Someone out there certainly likes the Ace Of Cups, because you can find several musical photomontages, a scruffy but engaging clip from the Revolution movie and a couple of clips from Gleason’s TV documentary West Pole on YouTube.

mp3: Circles
mp3: Simplicity

😀 Compilation | 2003 | Big Beat | buy it here ]
😎 Spotify link | listen ]

The Third Power “Believe”

The Third Power get straplined nowadays as “Detroit’s answer to Cream” and their sole album from 1970 is touted as “one of the finest psychedelic hard rock albums of its era”. Frankly, the first statement is an exaggeration; okay, there are similarities, particularly to the Brit trio’s live recordings, but find me a guitar-led three-piece of the time that didn’t draw on Cream, and of course on Hendrix, if you will. Like Jack Bruce, bassist Jem Targal utilised the thick, grinding sound of a Gibson EB-3 and sang in a beautifully articulated sub-operatic high tenor that could sound uncannily like Bruce’s, but guitarist Drew Abbott’s style owed little to Eric Clapton other than in his use of the universal pentatonics and bends and his occasional wielding of a clangy, reverbed Firebird. However, like Cream (but unlike many of their contemporaries: take a bow, Grand Funk Railroad), these guys really could play. Targal frequently includes fearsome bass double-stops and whole chords that even Bruce would never have sanctioned, and drummer Jim Craig moves effortlessly from subtle snare rolls to all-out cymbal assaults on his double kit, whilst Abbott’s funky rhythm chops and no-holds-barred mega-fast fretboard excursions contrast with Clapton’s by-then mature, restrained studio technique.

The album, too, is certainly fine but exhibits few real psychedelic moments, though the band had sprung from genuinely psych beginnings as their fine ’68 debut single (both sides included on the Relics CD reissue as bonus tracks) proves. By the time of their signing to Vanguard they’d settled into a straightforward progressive power-trio style based on collaborative musicianship with little studio trickery other than overdubbed lead guitars and occasional well-mixed-back keyboards. The material lacks the quirky artfulness of Bruce’s compositions with lyricist Pete Brown and the reliable blues-based inflections of Clapton’s writing with Martin Sharp; instead of Cream’s prevailing jazzy edge and twelve-bar framework you get melodic riff-rock, rattling funk-rock and stately ballads, nothing startlingly original but masterfully performed, with a crisp production by Vanguard’s legendary roots-music producer Sam Charters  which the reissue gratifyingly reproduces. The galloping “Lost In A Daydream” may owe a debt to Moby Grape, whilst “Comin’ Home” borrows the bombastic drums and pounding bass of many a Led Zep moment, and they get undeniably close to Cream on “Feel So Lonely” whose centre section steals its live feel, rolling rhythm and wailing guitar leads directly from “Crossroads” on the live Wheels Of Fire. “Passed By” is a totally un-Cream-like ballad carried on 12-string acoustic, piano and tambourine, whilst “Crystalline Chandelier” with its windchimes, flowing orchestral basswork and baroque harmonies is about as psychedelic as they get and could, I guess, be compared to some of Jack Bruce’s post-Cream solo work. The opening “Gettin’ Together” and closing “Like Me Love Me” are full-on, distortion-laden generic hard rock with all three players firing on all cylinders. The only real concession to psych is the closing thirty-second untitled fade-out with its backwards snare drum rolls and processed “Little Drummer Boy” vocal.

The Third Power probably thought they’d clinched a good deal getting signed to the illustrious Vanguard imprint, and the quality of Charters’s studio production must have appeared a real bonus, but allegedly the label found their product too heavy for its generally folky tastes and declined to give it any support at all, dropping the band almost immediately after its release. Despite modest sales around Michigan, boosted by appearances at Detroit’s Grande Ballroom supporting local heroes the MC5 and Bob Seger and high-profile visiting acts, it never took off nationally and the trio split soon afterwards. Only Abbott seems to have subsequently prospered, lending his guitar skills to Seger’s Silver Bullet Band. In 2009 the Third Power reformed to open the Grande Ballroom’s 40 Year Reunion concert with Arthur Brown, Big Brother & The Holding Company and Canned Heat.

mp3: Feel so Lonely
mp3: Crystalline Chandelier

:) Original | 1970 | Vanguard | search ebay ]
😀 Reissue | 2010 | Relics | buy here ]