THE RISING STORM | REVIEWS

The elder statesman of rock historians, Fred Dellar, wrote of the hugely-underrated Starry
Eyed And Laughing that “they were either 15 years ahead of their time or 10 years too
late”, by which he meant that with better timing they could have been as big as the Byrds or
REM. Certainly, SEAL arrived somewhat late for the first and most popular phase of their
chosen genre, country-rock. The two involuntary albatrosses they carried round their necks
didn’t help much, either: being cast by the UK rock media as an ersatz Byrds by dint of their
prominent Rickenbacker twelve-string jangle and close harmony vocals, and being saddled
with the uncultured, back-to-basics Pub Rock image by virtue of working the same London
venues as the R’n’B and Chuck Berry-fuelled likes of Dr Feelgood and Ducks Deluxe.
Neither association was deserved.

SEAL was initally old school friends Ross McGeeney and Tony Poole from Bedford, who
worked the capital’s folk clubs, pubs and subway stations as a guitar/vocal duo in the
early 70s, taking their name from a line in Dylan’s “Chimes of Freedom” and covering the
Zim himself, Jackson Browne, Michael Nesmith and other quality singer-songwriters. Late
in ’73 they aspired to a stable four-piece line-up with Brighton bassist Iain Whitmore and
appropriately-named drummer Mike Wackford, and began working up a set of country-rock
originals based around the songwriting of the three frontmen, Poole’s chiming Rickenbacker
330-12, McGeeney’s bend-laden Telecaster and fluid vocal harmonies. These graced
the eponymous debut album which appeared on CBS in October ’74 to considerable
critical approval. While the Byrds influence could be detected, so could those of various
other heroes of the genre – CSN&Y, Poco, even Moby Grape – and there were yet plenty
of original touches. The songwriting may not have been as smoothly adroit as the more
sublime compositions of McGuinn or Browne, but still showed an adventurous respect for
their West Coast antecedents. Poole’s dexterity on the Rick Twelve was (whisper it low . . .)
way ahead of Roger McGuinn’s, and his duels with McGeeney’s fiery Fender made the
uptempo cuts sizzle.

The debut’s twelve tracks comprised a classy, energetic, varied set. “Lady Came From
The South” recalls Notorious-era Byrds with flanged 12-string, powerhouse percussion
and psychedelic overtones, while the joyous boogie “Oh What?” rocks along on guitar
and piano in best Southern Rawk style. All four musicians generate an absolute tour-de-
force on “Going Down”, on which Poole’s licks in particular are incandescent. But despite
support from heavy UK touring the album failed to sell in large numbers at home, and didn’t
get a release in America at all. CBS nonetheless optioned a follow-up which appeared
eleven months later as Thought Talk and which, following the prevailing trend, offered more
keyboards, less twelve-string twang and more mature, complex compositions; different, but
certainly as accomplished and rewarding as the debut. SEAL then embarked on a brief but
well-received US tour, during which McGeeney visited Gene Parsons to have his Tele fitted
with a String Bender.

The history becomes sketchy thereafter; at a tour post-mortem meeting McGeeney was
summarily fired or resigned (depending on whose account you read) for reasons never made
public, and the depleted band fell apart shortly afterwards when their management went
bust. Unlike many of their contemporaries, there has been no reformation, though Poole
remains active in the genre as producer and record label owner and struts his Rickenbacker
along with Whitmore in the rather excellent Falcons. The best way to experience SEAL’s
oeuvre thirty-five years on is via the fine 2CD package That Was Now And This Is Then,
containing all of both albums, interesting bonus cuts (including their version of “Chimes Of
Freedom”) and snatches of concerts and radio broadcasts, available only from their official
website.

mp3: Going Down
mp3: Lady Came from the South

2CD Reissue | 2003 | Aurora | buy direct from starryeyed ]
Orig Vinyl | 1974 | CBS | search ebay ]

Something tells me, if I had been at San Francisco’s Avalon Ballroom in June of ‘67 to witness Moby Grape at the height of their powers, scorching through their set of two-minute pop blasts, blaring triple-guitar action and five-part harmonies soaring, I might not have survived the night. None was the match of the mighty Grape in those days; the band was “flying musically” and easily the toughest act around. Moby Grape Live is the first official release to afford a glimpse into the raucous and entrancing stage performances of one of the most exciting, original, and underappreciated bands of the ’60s.

Separated into four sides, this double LP takes us to performances from the same weeks their infamously overhyped masterpiece Moby Grape was released, to their few high-octane minutes at the legendary Monterey International Pop Festival, jumping forward to a 1969 performance in Amsterdam featuring cuts from Wow and ‘69, and ending back at the start: a full side of  ”Dark Magic,” recorded New Years Eve, 1966. This one’s worth the purchase for Side 1 alone. The rabid energy of the band, issuing rapid-fire gems like “Rounder” and “Looper,”  hits a high point in “Changes” into “Indifference” featuring Jerry Miller’s careening lead guitar. Skip Spence turns in a beautifully honest vocal to cap the blistering set with “Someday.” The highlight for me, however, are the post-Skip tracks from 1969 on Side 3. “Murder in my Heart for the Judge” shows the band at their loosest, the slack and soul of the rootsier Grape a refreshing contrast. “I am Not Willing,” one of their best songs, gets a grooving drawn out treatment and it’s interesting to hear a matured group attack earlier hits “Fall on You” and “Omaha.” The closing 17-minute raga, “Dark Magic,” is more than a piece of rock music history, an actually listenable and fascinating performance, it features inspiring guitar leads, primitive electronic squeals, Skip’s far out vocal, and the driving force of sound that made Moby Grape one of the hottest band of the era.

Sundazed has curated an important document here. Hardcore Grape addicts should note much of this material has been featured on bootlegs over the years (notably the tracks from Monterey Pop and “Dark Magic”) but none of this has ever been officially released, and never with such pristine sound quality. David Fricke’s notes are the icing on the cake. After the essential debut record, this is the Moby Grape record I would recommend next.

mp3: Omaha (1967, Monterey Pop)
mp3: Murder in My Heart for the Judge (1969, Amsterdam)

180 Gram Vinyl | 2-LP | 2010 | Sundazed | buy at sundazed ]
CD | 2010 | Sundazed | buy at sundazed ]

The historical importance of this unassuming album can’t be overstated. It was the first rock sampler album I ever saw or heard, and almost certainly the first such ever released here in the UK. It was in fact the first time I saw the actual term “rock” used to describe the music at all; previously the successive labels “underground” and “progressive” had been coined to cover the diverging (from “pop”) stream of album-based, art-for-art’s-sake music that had started with Dylan and Hendrix. It was the new music’s first budget release; at a time when the standard price of an album was 32/6 (about £1.63), this cost 14/6 (about 73p), just within the average teenager’s weekly pocket-money allocation. And it would spawn a whole new sub-genre of record releases peculiar to, and essential to, progressive rock: the cult of the sampler.

What came over then, and still impresses today, is the sheer quality of this dip into the CBS catalogue of 1969. Each track can be seen to have been carefully cherrypicked from its parent album, no sample being so leftfield as to frighten off the listener, though nobody venturing further into any of the represented albums would have been disappointed. Yet the overall diversity of the collection is astonishing, both in terms of styles and artists, in a way befitting progressive music. Practitioners of jazz-rock, country-rock, folk-rock, blues-rock, psychedelia and simple honest weirdness are all represented, whilst the acts featured include established big-hitters (Dylan, the Byrds, Simon & Garfunkel), contemporary heroes whose days were numbered (the Zombies, Moby Grape, the Peanut Butter Conspiracy, Tim Rose), newcomers who would fall at the first hurdle (the United States Of America, the Electric Flag, Elmer Gantry’s Velvet Opera) and up-and-coming artists who would go on to found dynasties (Leonard Cohen, Spirit, Blood Sweat & Tears, Roy Harper, Taj Mahal).

Two tracks above all left their mark on me. The Electric Flag’s “Killing Floor” induced me to purchase their album straightaway; this powerful number remains my favourite blues-rock AND jazz-rock performance of all time, with Mike Bloomfield on cloud nine and brass work to die for, the standout track from a solid album. By contrast, despite taking a perverse delight in “I Won’t Leave My Wooden Wife For You, Sugar” I somehow didn’t get round to buying the United States Of America’s sole album until 2008, when a book review of it rearoused my interest. This erotically engaging ditty with its homely brassband coda merely hints at the trippy weirdness of its fellow tracks – one to grow into over forty years, obviously.

A steady stream of samplers followed as prog-rock blossomed, including the best of the lot: CBS’s double from 1970, Fill Your Head With Rock. Samplers were considered disposable, and originals are now quite rare and collectable (sadly, I disposed of all mine many years ago when thinning the collection). Whilst retrospectively compiled anthologies covering the whole life of a label are nowadays commonplace, original samplers with their snapshot of a moment in prog-rock’s history are not. The Rock Machine Turns You On is the only sampler ever to be reissued on CD in its original form – and that sadly minus Simon & Garfunkel’s “Scarborough Fair / Canticle”, probably due to some momentary petulance on Paul Simon’s part. It came out in 1996 and is now a rarity in its own right, never having been re-released. Judging by the clamour on Amazon, Sony could do a lot worse than reissue The Rock Machine Turns You On and Fill Your Head With Rock in their original forms, although licencing problems mean they probably won’t.

The Electric Flag – Killing Floor

1968 | CBS | search ebay ]

As good as Kaleidoscope’s debut was (1967’s Side Trips), A Beacon From Mars expanded on the group’s sound greatly, as it includes two excellent “long” tracks: the Eastern instrumental jam “Taxim” and the ghostly blues-rocking title cut, which is full of feedback and excellent harp work.  These two tracks were cut live in the studio with no overdubs or studio interference.  Chris Darrow explains, “We needed an album that really sounded like us live, not a stacked, layered sound that was so prevalent. We decided to record the way only jazz musicians were recording, live” (taken from the Edsel reissue liner notes). Needless to say, this conscious effort to capture the group in true form is a success, as both cuts are amazing, showing off Kaleidoscope’s legendary eclecticism and peerless musicianship. ”Taxim” is an astonishing Eastern folk instrumental that builds into an exciting crescendo unlike anything you’ve heard before. Incredible stuff.

Kaleidoscope were some of the most accomplished musicians of their day – up there with the best San Fran had to offer (ie. The Grateful Dead, Quicksilver, Moby Grape and so on).  Chris Darrow, principal songwriter, is one of LA’s most underrated musicians, he penned fine 3 minute pop songs while David Lindley and Solomon Feldthouse mastered a variety of strange, stringed instruments.  Remaining cuts like ”I Found Out,” “Greenwood Sidee” and “Life Will Pass You By” are exciting roots excursions that mix folk, country and psychedelia into something that’s genuine and authentic.   Other than being a standout acid folk-rocker, “I Found Out” is also notable for a cool dobro solo and what sounds like primitive synthesizer.  Another great track is the excellent Smokestack Lightning rewrite “You Don’t Love Me.”  This track features incredible graffiti-like lead guitar (with lots of bluesy fuzz) while the aforementioned “Life Will Pass You By” is a beautiful Byrds-like folk-rocker with accomplished finger picking (think Byrds crossed with early Nitty Gritty Dirt Band).  The only misstep here is a rather lame attempt at good time/jugband music titled ”Baldheaded End Of A Broom.”  My pick of the bunch is “Greenwood Sidee.”  This track is actually an Irish murder ballad, a tremendous one at that, with stoneface vocals and an eerie acidic vibe -no doubt aided by effective fiddle work.   This is one of my favorite lps.

This would be Chris Darrow’s last LP with Kaleidoscope.  After Beacon he would join the Nitty Gritty Dirt Band and also release a few solo discs.  David Lindley and co. soldiered on releasing the fine Incredible! from 1969 and the disappointing Bernice.  Edsel reissues are pretty hard to come by these days but the recent box set Pulsating Dream is highly recommended as it features all their classic albums and rare non-lp singles.

“Life Will Pass You By”

CD Reissue | Box Set | 2004 | Acadia | at amazon ]
Vinyl Reissue | 2008 | Sundazed | buy at sundazed ]

It’s been a great year for re-releases. All thanks to labels dedicated to top notch sound, quality packaging, expanded content, and 180 gram vinyl. With no further ado here’s an unranked list of the top 25 reissues we found this year. Hit up the poll below and help us determine which was this year’s very best.

	13th Floor Elevators “Sign of the 3 Eyed Men” International Artists 10 CD Box Set The band’s three landmark albums including rare mono versions, outtakes and alternate versions. Two lost albums featuring previously unreleased material. Rare and previously unreleased live recordings with a 72 page hardback book. Enhanced with posters, ephemera, discographies and many rare and previously unseen photos.
	“Thee Complete Midniters – Songs of Love, Rhythm & Psychedelia” Micro Werks 4CD Box Set Chicano rock n roll pioneers released these four LPs between 1965 and 1969; each disc has bonus alternate takes, alternate-language versions, instrumental mixes, live cuts and sought-after single sides.
	Moby Grape “The Place and the Time” Sundazed 2LP Outtakes Comp Rare tracks cut during the band’s 1967–1968 heyday. Encompassing audition recordings, album outtakes, alternate versions, live material and more. read our review…
	The JuJus “You Treat Me Bad” Cicadelic CD - Complete Singles The classic singles, a good 1965 Ray Hummel Fenton 45 (backed by the JuJus) and a slew of quality outtakes. There are no lame covers and the sound quality is excellent. Mandatory listening for anyone interested in pure rock n roll. read our review…
	The Rationals “Think Rational/Fan Club LP” Big Beat 2CD All the group’s early singles and outtakes on a double disc anthology. First time legit reissue of the group’s early years. A great package, evenly divided between the group’s garage and soul eras. read our review…
	Big Star “Keep an Eye on the Sky” Rhino 4CD Box Set 1968 to 1975 unreleased demos, unused mixes, alternate versions, and a 1973 Memphis concert recording. Extensive liner notes, rare  photos, and essays about the cult of Big Star and the band’s history.
	Alexander “Skip” Spence “Unreleased Demos” Sundazed Limited 10″ Vinyl Single Demos recorded in New York in 1968 during the run-up to the Grape’s second album,”Wow.” Limited edition 10” vinyl single packaged in a numbered sleeve with liner notes by Rolling Stone’s David Fricke, an artist bio, and rare photo inserts.
	Louie and the Lovers “The Complete Recordings” Bear Family CD Anthology Definitive collection of this Doug Sahm produced Salinas group, harnessing the sounds of SDQ, CCR, conjunto, and rock and roll; includes the legendary lost 2nd album and extensive liners. read our review…
	Clarence White “White Lightning” Sierra Records CD & DVD Rare and largely unreleased studio and live recordings available for the first time on CD, focusing on Clarence’s electric work with some of his fine bluegrass acoustic chops on display.
	Emmit Rhodes Recordings (1969-1973) Hip-O Select 2CD Remastered 48 song collection features the four albums Emitt Rhodes released between 1970 and 1973 – the three ABC/Dunhill albums Emitt Rhodes, Mirror and Farewell To Paradise, and his one A&M album, American Dream, along with the non-LP single “Tame The Lion.”
	Beatles Mono Box Set EMI 13CD Remastered Mono Mixes The first ten albums in re-mastered mono (the final 3 albums made their debuts in stereo only), and a double album of singles and EPs, called “Mono Masters”. Each disc is presented as if it were a miniature “33″, replete with plastic anti-scratch sleeve, inner paper sleeve, original album cover, inserts and all original text.
	2131 South Michigan Avenue Sundazed 2LP USA & Destination Records Comp 60’s Garage & Psychedelia from USA and Destination Records. Chicago ’66 garage at its finest; album artwork stuffed with rare photos, band bios, and an interview with the legendary Jim Golden.
	Blossom Toes “Love Bomb 1967-1969″ Sunbeam Deluxe 2CD Previously unreleased vintage British psychedelia including a detailed booklet with rare photos and an introduction from the band’s leader, Brian Godding and Guest appearance from Frank Zappa.
	Monks “Black Monk Time” “The Early Years 1964-1965″ Light in the Attic CD, LP Monks’ recorded legacy through two reissues.  Numerous unseen photographs and two-part essay by Canadian music journalist Kevin Howes accompany both releases and tell the Monks story like it has never been told. Bonus material dating back to pre-Monks Torquays and up to post Black Monk Time 7″s are also included.
	Death “For the Whole World to See” Drag City CD/LP/MP3 1974 demo album released for the first time and maybe one of the first punk albums.  Bobby Hackney’s sons, members of Rough Francis, are responsible for digging up the old demo tapes for this blisteringly hot buried treasure. read our review…
	John Drendall, B.A. Thrower and Friends “Papa Never Let Me Sing The Blues” Riverman CD Deacon Productions released 100 copies of Papa in 1971/1972. This is its first re-release. Very fine Americana, a true undiscovered gem that needs to be heard by more music fans. read our review…
	Morning “Morning” Wounded Bird CD One of the mandatory lost  LPs in the rural-rock/American roots/country-rock field. First time on CD since its Vault 1970 release. read our review…
	Off The Wall Volumes 1& 2 Past & Present 2CD Originally issued by the UK imprint Past & Present in the late 80s, this is one of the original 60s garage rock and psychedelia compilations.
	Kaleidoscope “White Faced Lady” Repertoire Records CD Long-lost concept album from the British psychedelic group, remastered and presented in a definitive collectors’ package. It has the original descriptive texts for the music, plus a new interview with founding member Peter Daltrey. read our review…
	Betty Davis “Is it Love or Desire” Light in the Attic CD/Sundazed Vinyl Recorded in the summer of ‘76, and never issued until now. Betty was Miles Davis’ ex-wife and often credited with influencing the Bitches Brew era. Super hot funk must have.
	The Lemon Drops “Sunshine Flower Power” Cicadelic 2CD Rare psychedelic rock from the suburban Chicago scene. Features the “Sometime Ago” LP and plenty of rarities, including previously unreleased versions.
	Pisces “A Lovely Sight” Numero Group CD/LP/MP3 Never issued LP of unknown, modern-sounding psych done up by the wonderful Numero label. 1969 curio from Rockford, Illinois.
	The Master’s Apprentices “The Master’s Apprentices” 101 Distribution 2CD Remastered and expanded two CD edition of of this Australian 1967 garage/psych classic including 27 bonus tracks.  Deluxe eight panel digipak with 28 page booklet with many previously unpublished photos and recent interviews.
	King Crimson “Red” Discipline 2CD/DVD Remastered and expanded two disc (CD/DVD) edition of the Prog Rock band’s classic 1974 album, released to coincide with King Crimson’s 40th anniversary. Presented as digipak in a slipcase with new sleeve notes by Robert Fripp and King Crimson biographer Sid Smith along with rare photos and archive material.
	Neil Young Archives Vol. 1 1963-1972 Reprise Records 8CD Box Set Comprehensive, chronological survey of Neil Young’s entire body of work. 8 discs, each in its own custom sleeve and featuring over 40 previously unreleased songs, versions, mixes, or rare tracks.

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Q. Which reissues, from any list, knocked you out in 2009?

From 1971 Japan comes this gleaming gem of classic rock, encompassing a myriad of American styles from rural rock and country to raw garage, blues, experimental, and blazing west coast rock – but contrary to prevailing trends of the time, the lyrics are not sung in English. If this poses a problem for your ears it is a great shame, for Kazemachi Roman (Wind City Romance) is a must-listen record, and #1 on Rolling Stone’s list of the 100 Greatest Japanese Rock Albums.

Kazemachi Roman owes its sound to many influences, but the band maintains an unmistakable originality while flawlessly running the gamut of American popular music. “Haikara Hakuchi” drives with the ferocity of a Moby Grape track, “Haru Ranman” combines byrdsian folk with a roaming west coast feel, while “Sorairo no Crayon” dabbles with country & western, replete with pedal steel and a yodeled outro.  ”Natsu Nandesu” and “Kaze wo Atsumete” have a soulful, bucolic charm, the latter finally getting its due via 2003’s Lost In Translation soundtrack. “Dakishimetai” sounds like a classic 70s rock anthem and “Hanaichimonme” grooves like a freight train, prodded along by rolling guitar licks and driving piano. “Ashita Tenki ni Naare” gets to funky rhythm and blues featuring a fantastic Beegees multi-falsetto vocal part. And then there’s “Taifuu” (typhoon), the clear alpha dog of the set. On this authorative rocker the singer lets it all out with gnarly, gutteral yelps and grunts.

Even the slightest investment in this record should prove the attraction goes way beyond novelty.  The sound is instantly recognizable feel-good rock and easily transcends the language barrier. Had these gentlemen hailed from California and sang in English, Happy End would have been a household name.

The lead man, Haroumi Hosono, would later form the sensational Yellow Magic Orchestra (titans of the pre-midi synth age) and continues to make music with his electronica duo, Sketch_Show.

“花いちもんめ (Hanaichimonme)”

CD Reissue | search ebay ]

If you’re not convinced Moby Grape were one of the hippest, baddest, realest, and rawest bands of the late 1960s then grab this new outtakes and live cuts compilation from Sundazed and try to explain otherwise.

The Place and the Time collects unissued recordings by Moby Grape and presents them more or less chronologically from 1967 to 1968 over 2 LPs. Side One combines auditions (“Indifference,” “Looper”) and demo cuts (“Stop,” “Loosely Remembered”)  with “Rounder,” an instrumental outtake from the sessions for the Grape’s legendary debut album. Side Two focuses on outtakes from the Wow album sessions, ending with a scorching version of Bob Mosley’s “Soul Stew.” Side Three rounds out later 1968 Grape demos, many of which would form the Moby Grape ‘69 album, and Side Four includes a triplet of killer live cuts from 1968 – just listen to the overwhelmed crowd react to the onslaught of “Changes.”

I love the Sundazed mono pressings, but the stereo live cuts are particularly atmospheric; it puts you right on the stage with the band and hearing these tracks pressed to vinyl (for the first time in their sadly neglected lifespan) is a real warp zone. Moby Grape fans who haven’t picked up the recent reissues (where some of these are bonus tracks) should clamber to get on board with these discs, the recordings are rock solid in sound and it’s a treat to spin these dusty gems and listen to the mighty Grape tear shit apart.

“Soul Stew”

180 Gram Vinyl | 2009 | Sundazed | buy from sundazed ]
CD | 2009 | Sundazed | buy from sundazed | amazon ]

Bob Martin “Midwest Farm Disaster”

Try to read any customer or user review of Midwest Farm Disaster and end up finding a host of incredible stories. Bob Martin is an unrecognized music hero and this record is brilliant and perfect. Self-reissued on CD Baby, the album’s about loss and hard hard times. If you ever bought a Dylan or Van album consider this essential. This is the one I came back to the most last year.

Read about it here, here, and here. must mention that stwof hyped it all year.

Thanks for the heads up to Jason, read his review here.

Buy it at CD BABY | Riversong ]

Runners Up
Sundazed – Dennis Wilson “Pacific Ocean Blue”
World In Sound – Cold Sun “Dark Shadows”
El Records – Gilberto Gil “The Sound of Revolution”
Shadoks – The Contents Are “Through You”
Raven – Richie Havens ” Richard P. Havens 1983″
Rev-Ola – Q65 “Nothin But Trouble – The Best Of”
Manifesto Records – Flo & Eddie s/t
Domino Records – Robert Wyatt Catalogue
Wayback Records “Scream Loud – The Fenton Story”
Dusty Groove – Gal Costa “1969″
Sundazed – Moby Grape Catalogue

EDIT

More Runners Up
Jade “Faces of Jade”
Mythos
First two Idle Race albums
Tamam Shud Goolutionites
Jim Ford – Point of No Return
What were your favorite reissues from the last two years?

If Mr. Tambourine Man, Notorious Byrd Brothers, and Sweetheart of the Rodeo are acknowledged Byrds’ masterworks, Younger Than Yesterday isn’t far behind.  There’s a few tracks that haven’t held up, Mind Gardens – Crosby’s psychedelic folk-rock opus is a bit unfocused but not as terrible as the critics make it out to be.  C.T.A. 102, a track that must’ve sounded cool when this album was released in 1967, has dated space-age sound effects.  These are interesting experiments by all means but the 9 remaining cuts were prime mid 60s Byrds.  At this point Gene Clark had been out of the group for some time, knowing this Hillman and Crosby pitched in big time with some of their best ever compositions.  Younger Than Yesterday is one of the great American rock classics, very close in sound to the Beau Brummels Triangle, Moby Grape’s self-titled debut, and Buffalo Springfield’s Again. 

The two hits that anchored the lp were pretty great.  So You Wanna Be A Rock N Roll Star blasted out of radio speakers in 1967 sounding unlike anything else with a strong latin feel, great lyrics, and a killer groove.  The other major hit off the album was a cover of Bob Dylan’s My Back Pages.  This was one of their best Dylan covers yet and had a trademark, classic McGuinn twelve-string guitar solo.  Crosby offered up one of his best songs, Everybody’s Been Burned, a masterpiece of psychedelic folk-rock highlighted by his exquisite, crooning hippie vocals and drowsy acid guitar work.  Renaissance Fair was another Crosby psychedelic folk-rocker with strong acid imagery and shifting time signatures plus some more fine 12-string from McGuinn.  McGuinn and Crosby contributed great material to Younger Than Yesterday but for me it was Hillman’s contributions that have stood the sands of time best.  Hillman’s Have You Seen Her Face, Time Between, Thoughts and Words, and The Girl With No Name were all superb songs.  Have You Seen Her Face saw the Byrds in garage mode while Thoughts and Words was one of their best straight-up psych numbers.  Prior to Younger Than Yesterday the Byrds had flirted with a kind of proto country-rock sound on Mr. Spaceman and Satisfied Mind.  With Time Between and The Girl With No Name, that flirtation came to fruition.  Hillman had played in bluegrass bands prior to the Byrds, so the said experiments were just an extension of his roots – no gimmicks, completely genuine stuff here.  Both tracks rock pretty nicely and feature some fine guitar work by Byrd-in-waiting Clarence White.  Time Between and GIrl With No Name do not have a heavy Nashville sound but so what, this was the Byrds version of country music and probably a purer fusion than anything else they have done ever since.  Just as the Byrds had broken new ground with psychedelia a year earlier, their move into country represented an advancement of musical frontiers.  The album ended with McGuinn’s Why, a great rocker with a riveting space guitar solo.   This track had been released much earlier as the B-side to Eight Miles High in 1966. 

In the mid 90s Columbia rehauled the entire Byrds catalog, reissuing all their classic albums with plenty of extras.  The Younger Than Yesterday reissue includes two lost Crosby gems, It Happens Each Day, which is an outtake, and Lady Friend, one of their best mid 60s non-lp tracks.  Younger Than Yesterday is an important part of the Byrds evolution.  It’s a classic album that saw the group at the forefront of pop music – The Byrds were always three steps ahead of the game. 

“The Girl With No Name”

Vinyl Reissue | Mono | Sundazed | buy from sundazed ]
MP3 Album | download at amazon ]

20 Granite Creek was another comeback disc that Moby Grape issued in 1971 (Reprise). Just like other comeback efforts 69 and Melvilles, this one delivers the goods in a more subdued, laidback country-rock fashion.

The five original members who played on the 1967 debut are all present though Skip Spence only contributes one fascinating original, the instrumental Chinese Song. Chinese Song is incredible, completely unlike anything the Grape would record again and more proof of Skip Spence’s genius. While Spence provided the Grape with an undefinable magic, Mosley, Lewis, Stevenson, and Miller’s contributions were just as important and really an underrated facet.

My first initial reaction to 20 Granite Creek was disappointment. The record’s production reminds me of the Doors’ LA Woman, slicker than their 60s records, making the band sound like a ghost of its former self. That being said, 20 Granite Creek is a much better album than their unfocused 1969 lp, Truly Fine Citizen, which was more or less contractual filler. Each track has something new to offer and as a whole this is one of Moby Grape’s very best offerings. Songs like Gypsy Wedding and Wild Oats Moan show off the group’s loose, bluesy hard rock side and would fit in well with classic rock radio as both these songs are full of great guitar riffs and busy arrangements. Goin Down To Texas is another excellent driving roots rocker with some great guitar hooks and a vibe that’s similar to Fall On You or Omaha. Other surprising highlights are the moody oblique psychedelia of Horse Out In The Rain and the boogie rocker I’m The Kinda Man, That Baby You Can – which bears a passing similarity to prime era Little Feat.

My picks off the album are Apocalypse and About Time, two reflective gems off the first side of the original lp. Apocalypse is more of a country-rocker that comes on like the calm after a storm and highlighted by fiddle and a rock steady beat. About Time is a complex production and notable for its unique tin drum section which gives it a distinct island influence. All in all this is a great guitar oriented roots rock lp that shows Moby Grape trying different ideas in the studio while keeping things fresh and simple. The original lp is fairly easy to find and was reissued on cd (but now out of print) by San Fransisco Sound in the 90’s albeit with shitty cover art though.

“About Time”

Original Vinyl | 1971 | Reprise | search ebay ]

Clear Light were a folk-rock/psych-rock group from LA that released one lp off Elektra in 1967. Clear Light are famously known for including two drummers, one of them being Dallas Taylor of CSNY and Manassas fame. Paul Rothchild produced the lp, which explains why the recording sessions were fraught with tension and negativity. The group was really masterminded by guitarist/vocalist Bob Seal, bass player Doug Lubahn and lead vocalist Cliff De Young. Prior to Clear Light the band had been known as the Brain Train. Seal felt a name change was appropriate to coincide with the release of a newly recorded debut single, Black Roses. Seal decided on Clear Light, a concept he had come across in his readings of Eastern philosophy – a name also shared by a potent brand of LSD.

Black Roses was released in September of 1967 and written by outside songwriter and ex-boxer Bud Mathis Wolfgang Dios. It was a great hard charging folk-rock single with an acid tinged guitar solo that deserved to sell much better than it did. Black Roses appeared on the group’s only full length platter, released in late 1967. Many psych fans are divided when it comes to the Clear Light lp but I think it’s a good one. Maybe not a true classic on par with Love’s Forever Changes or Moby Grape’s debut but still a very good lp without any weak tracks. The band tries nearly everything within a 2 to 3 minute pop song context, meaning the songs are loaded with good quirky ideas and great guitar solos (check out Think Again). Some tracks like They Who Have Nothing and the baroque Ballad of Freddie & Larry bear a strong Doors and Love influence but this makes sense considering the fact that all groups were on Elektra. Other songs like the outstanding fuzz guitar psychedelia of Sand and the trippy Night Sounds Loud are more original and hinted at a strong future for the group. The former track features some great organ and spiraling acid guitar interplay. The album’s most famous track, a cover of Tom Paxton’s Mr. Blue, sounds dated today with its spoken word dialogue although even this song is oddly appealing in its own way and definitely still considered a highlight.

Rothchild’s iron fist policy coupled with the lack of commercial success led to Clear Light’s demise, shortly after the release of this solid album. Not everyone will like this record because of its eccentric nature but it really is a crime that Clear Light were unable to release a followup to this debut. A very worthy release from a talented, accomplished California group.

“Think Again”

Vinyl Reissue | Sundazed | buy from sundazed ]
Original Vinyl | 1967 | Vogue | search @ ebay ]
MP3 Album | download @ amzn ]