Author Archive

John Hartford “Aereo-Plain”

| Americana,Folk

Aereo-Plain

John Hartford started off like many songwriters, writing song after song trying to hit a big one. And when he did, with Gentle On My Mind (one of the most recorded songs ever), he hung out on those royalties, and all of his subsequent albums were exactly what you would expect from a bluegrass entertainer who did just exactly what he wanted to do. Of course, I must admit that the first time my buddy showed me his tattered LP with some goggled longhair singing hillbilly tunes I wasn’t too interested (probably opting at that time for Trout Mask Replica or the like), but of all the albums I once ignored, this was my biggest mistake.

Hartford is the Frank Zappa of bluegrass. Not quite as prolific in terms of releases, but both musicians were so firmly entrenched in their respective musics, and at the same time, so able to comment on it from an outside, and humorously different point of view. With Aereo-Plain, the first album any wannabe John (or even bluegrass) fan should nab, Hartford grabbed some of the best pickers in town (Norman Blake, Tut Taylor, Vassar Clements, and Randy Scruggs on electric bass guitar) and just let ‘em go. In the studio, the only requirements were that at least one picker had to know the song, and the rest could follow. It was a free-form recording and they didn’t listen to playback until it was all over.

There was magic there at that studio, and for a closer look we have the wonderful, newish companion CD, Steam Powered Aereo-Takes which gathers many great outtakes from the sessions. But seriously, start here with the biggie. John’ll rip that banjo and sing about Steamboats (of which he was a Mississippi River pilot), hippies, drug dealin’, songwriting, and the “Goodle Days” in general. In fact, this nearly conceptual album has a nostalgic theme almost in line The Kinks’ classic Village Green album.

Not to be missed, then get Morning Bugle.

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“Back In The Goodle Days”

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The Byrds “Notorious Byrd Brothers”

| Folk,Pop,Psych

Notorious Byrd Brothers

Na Na Notorious! The Byrds sure are notorious gangstas and especially on this album, recommended as a good introduction to The Byrds. The Byrds were a huge, huge group back in the day. Sometimes, today, it seems like they aren’t considered up there with the big boys (Beatles, Stones, Who, Byrds), but to those in the know, it’s no question. The Byrds were a monumental force in mashing up the folk and rock scenes, and they were also huge fans of Bob Dylan (averaging around two Dylan covers per release). On Notorious Byrd Brothers, they hit their pyschedelic apex, enlisted the Moog synthesizer, fell apart, and created a masterpiece.

They say the horse replaced David Crosby on the sleeve there, he quit the band halfway through the Notorious sessions, as did drummer Michael Clarke. But Chris and McGuinn knew where The Byrds ought to be going (just consult their next album, the heroic and classic Sweetheart of the Rodeo). Some more about this album: produced by Gary Usher;  SFX transitions, swirling 12-string guitars, laid-back rhythms, ever present and beautiful Byrd harmonies, and two of the greatest Carole King/Gerry Goffin penned hits (“Goin’ Back” and “Wasn’t Born To Follow,” (Easy Rider Soundtrack).

It’s the most psych of the Byrds’ outings, closing with the trippy “Space Odyssey,” apparently an attempt to get a piece of Kubrick’s movie soundtrack. All the Byrds reissues are great, with plenty of bonus. Remarkably, all of it on this one is really good. Especially the super-weird “Moog Raga.”

Besides, if you don’t have any Byrds, you won’t understand when we refer to them every other review.

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“Draft Morning”

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Emitt Rhodes (self-titled)

| Pop

Emmit Rhodes

After disbanding his 60s pop group, the Merry Go Round (also recommended!), Emmit Rhodes released this wonderful debut in 1970. Emitt, along with The BBoys, was raised in Hawthorne, California and by the age of 20 had amassed an unusual degree of musical talent. This entire album is composed, performed, and sung by Emitt Rhodes.

This album is different than most lost gems, however, in that there seems to be no good explanation for why it should have remained lost in the first place. The songs are so good, and the recording is ingenious, and incredibly catchy. The closest I get to the problem, is that it sounds too much like The Beatles. In fact, the first time I got this record, I found it hard to get into because it sounded so close to Paul McCartney. It takes the bite out, know what I mean? This doesn’t remain a problem for long, though, as Emitt’s work surpasses that of Sir Paul’s in terms of good to bad ratio. You will soon be bopping along, wishing that Paul had been as focused as Emmy here.

Another classic case of mismanagement later and Emmy’s 4 solo albums would be brushed under the table, waiting for us to scoop it all up. Even after having the song Lullaby featured in Wes Anderson’s Royal Tenenbaums, Emmy’s work remains inexplicably unavailable. I have a feeling a good comp will show up again soon. Daisy Fresh From Hawthorne was a great CD because it held the first album intact and followed with a smattering of pieces from his later albums.

Each song on this self-titled debut is a perfect little gem. You’ve got to track this down somehow. Never pass it up in the bins!

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“Somebody Made For Me”

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Del Shannon “The Further Adventures of Charles Westover”

| Pop,Psych

The Further Adventures of Charles Westover

Here’s a psych-tinged outing that you wouldn’t expect from Del Shannon, but that you couldn’t hear from anyone else. In case you don’t remember, Del broke out in 1961 with “My Little Runaway.” Although he failed to equal his initial success afterwards, until he turned his sights to a more open-minded audience in 1968.

Del used his birth name on the title for this album, an erie and rocking mix of great tunes. The opener, “Thinkin’ It Over,” really nailed me the first time I heard it. But don’t let this “Care of Cell 44″-like great rollicking opener distract you from the rest. There are songs with great guitar work and lush string and horn orchestration. Del gets bluesy on “Be My Friend,” takes it down with “Silver Birch” and gets trippy on “Colour Flashing Hair.” Plus there is the awesome, driving “I Think I Love You” with sitar-like guitar work and a droning orchestra. Many great gems on this record. There are also a slew of bonus tracks on the reissue, including a chiller remake of “Runaway.”

Del has this tenor that is nice but kind of scary. It’s hard to describe. He sings with delicacy here and grit there; he knows what he’s doing. This isn’t just another psych outing from some has-been trying to get into the new trend. Sure, that’s probably the motivation behind this record, but it is finely crafted in songwriting and orchestration, an album worthy of some of the best of its competitors. Nice work Del.

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“I Think I Love You”

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Bobby Callendar “The Way (First Book Of Experiences)”

| Folk,Pop,Psych

The Way

An orchestral and eastern influenced psychedelic pop gem, Bobby Callendar’s “The Way” sometimes gets the shaft to “Rainbow,” but I like “The Way.”

Sometimes, when folks are asked if they could interview anybody from any time, it would be Gandhi. But, The Rising Storm chooses Bobby C. Seriously, somebody needs to get the scoop on this mysterious and intriguing record. Bobby’s intense lyrics are matched with a mix of eastern instruments, lush strings, and tambourine. I can’t say why but the tambourine sticks in my memory. Nothing says 60s pop like that wonderful percussion instrument.

Bobby C. was clearly very into the Mike Love style 60s eastern Buddhism thing. “Sitting ‘neath the bodhi tree… as one.  The Story of Rasha & Dhara is essential listening for psychedelic music fans. It’s pretty, and strange, and sports one of the smoothest basslines of the 60s.

Not to say that this record is flawless. There are a few skippable tracks, all in all it’s nothing to brag about, but there are some real nice gems in here. The opening is miraculous, while others are catchy, and others take you quite by surprise. Be prepared for religous themes and a generally trippy experience.

The lack of availability to this record is a disappointment; the sturdy digipak casing, reminiscent of some of the best vinyl record sleeves, should be a standard for CD reissues. And like I’ve been saying, this one is a real gem.

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“Story of Rasha and Dhara”

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Big Boy Pete “World War IV”

| Concept Albums,Psych

World War IV

Big Boy Pete is your quintessential slice of lost psych. Or is he? Re-releasing a string of solid material from the 60s in the late 90s and 2000s, “Big Boy” Pete Miller’s prolific and good quality works have caused some archivists to wonder. Yes, I have heard some people claim that Pete Miller’s stuff is fake.

But regardless of whether Big Boy Pete’s music was recorded back in the day, or in a home studio by a modern-day-super-psych-fan, his works have been accepted as psychedelic standards. World War IV, recorded in the late 60s and released in 2000, is a strange and interesting album. Most of the other Pete Miller works, found on the Catatonia collections and Summerland have a breezier, poppier thing going on. WWIV is a whole ‘nother story. Well, it’s certainly meant as a story, but I have never been able to follow it. A “Symphonic Poem” indeed.

But the sounds here are nice. Pete loves his guitars (definitely check out his home on the web here!) and there are some great fuzz rhythms and bass lines throughout. Some catchy moments but definitely not enough to DJ a party. Well, I guess that depends on how you like to party. Overall, I just have to mention that this is pure, pure psychedelia. Give it a run when you are in the mood for that.

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“Movement 4 (Echelon)”

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David Bowie “Hunky Dory”

| Pop,Power

Hunky Dory

File this under “No kidding.” I consider side two of this record a lost gem. Who cares if this album is holding an outside straight of massive Bowie classics (Changes, Oh! You Pretty Things, Life On Mars, Queen Bitch), that doesn’t mean we can’t appreciate it in this forum, does it?

The problem is the powerhouses tend to overshadow the real gems here. Some folks I know skip Kooks! That’s got to be the best song on this record! It’s kind of like Bowie roots, with a Kinks sounding composition. And Quicksand is great as well, a well orchestrated ballad with rock band climaxes. The ultra catchy Fill Your Heart is another beautiful, piano-led, tune.

I never could follow the lyrics to this record, but I didn’t try too hard. With Andy Warhol and Song For Bob Dylan following (before the undeniable Queen Bitch) it’s a wonder people consider The Rise and Fall of Ziggy Stardust the better record. Anyway, that’s more of a Ziggy record than a Bowie record.

Hunky Dory is as classic Bowie as you can get. CLASSIC BOWIE!

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“Kooks”

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Margo Guryan “Take a Picture”

| Pop,Psych,Sunshine

Take A Picture

When Margo heard “God Only Knows” for the first time, she dropped everything. Steeped in learnings of jazz and composition, Margo was shaping her musical self in 1966, and Pet Sounds was just what she wanted to hear. Inspired, and working in the glow of Brian’s masterpiece, Margo began work on Take A Picture. It’s a beautiful lost gem. I love this album dearly.

The first thing to notice is Margo’s voice, a unique upper register whisper. But when it starts off you say “whoa, what is this?” as Sunday Morning sounds like a garage funk band with studio musician talents. The album’s production is wonderful in that it is so expert, but never showy. This is one of the most laid back albums I’ve heard.

Another sunday morning staple, and I originally bought this record along with Colin Blunstone’s One Year, so I consider them companion pieces. It’s jazz, slightly psych pop, with all the ornaments of the Pet Sounds orchestra. A brilliant record, and I must also recommend the (almost more) wonderful 25 Demos as well.

Say Hi to Margo! [myspace.com]

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“Take A Picture”

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Frank Zappa “We’re Only In It For The Money”

| Art,Concept Albums,Pop,Psych

We’re Only In It For The Money

Not everybody has the time and/or interest to invest in collecting the entire Frank Zappa discography, but if you are interested in rock music enough to be here, reading this, you need to at least acquaint yourself with this album.

The original album cover shown above really says it all. For The Money is Zappa’s thesis statement on the music culture surrounding him during the summer of love. It goes something like this: “every town must have a place where phony hippies meet, psychedelic dungeons popping up on every street.”

Yet, when I listen to this album, I don’t hear biting, social satire, as so many reviewers will mention. Yes it’s there, but how can I concentrate on the lyrics when there is a such an astounding musical arrangement. Zappa’s mastery of the studio is evident in every millisecond of sound; drum toms, orchestral instrumentation, clean treble guitar chords and melodies, sped up vocals, saxophone fills, and affected tape samples combine to create an unimaginable, indescribable sound.

The record is a fantastic journey and I never get tired of taking it. It’s funny too, after a few listens, once you start to get used to FZ’s humor. It is important to remember that Frank Zappa was a classical composer that merely used the pop music of the day to paint his own picture. He was an accomplished genius whose hardest drug was a cigarette. All of his work is superb, though the early Mothers stuff is the best, and this one is cream of the crop, unlike any other.

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“Who Needs The Peace Corps”

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The Flatlanders “More a Legend Than a Band”

| Country Rock

More A Legend Than A Band

This became my favorite new record in under a full day. Normally, we are looking at albums that we’ve sat with, kinda know inside out, but this is an emergency. It’s been an evil secret that nobody told me about this one sooner.

Originally released in 1972, and only available on 8-track cassette until 1990, when it was finally put out on CD- just in time for the alt-country kids to scoop it up- this is a perfect country album. If you’ve ever detected a note of irony when the Byrds put their cowboy hearts on for Sweetheart, this is the record to set you straight. The real deal (and you know because it’s on Rounder).

It’s hard to describe what it is about the sweet spot this record hits, but here’s a shot: The Flatlanders match an electric sound with acoustic, bluegrass instrumentation (sans banjo). They play in an old-timey (lazy fiddle) way with a swing in their step, and add a nice psych touch with the musical saw (imagine a tasteful theremin adding hints of accompaniment on about half the record). Jimmie Dale’s singing is A+ number one and the harmony is also great. Oh and listen to that fine dobro work on Stars In My Life.

Or look at it this way: 13 great new songs to love, a beautiful forgotten classic for your shelves, and a serious contender for Sweetheart of the Rodeo’s coveted country-rock trophy spot. Yes, it’s the newest record in my collection, but I think I would grab for it first on my way to the island.

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“Jole Blon”

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