Archive for the ‘ Classic Rock ’ Category

Eggs Over Easy “Good ‘N’ Cheap”

| Americana,Classic Rock,Country Rock

Here’s another one for the wish-this-wasn’t-it list. Eggs Over Easy were virtually unknown but recorded an incredibly solid album and have a cool story to boot.

Credited with launching the genre of pub rock, these hard working American road warriors brought the sound of Americana/country rock to the pubs in England during an ill-fated recording trip, and ended up gigging around until their visas ran up, inspiring the likes of Brinsley Schwarz, Bees Make Honey, and Frankie Miller. They had amassed an impressive repertoire of original and cover material upon their return to the states, and recorded Good ‘N’ Cheap out in Tuscon, AZ with Link Wray producing. Sadly, it’s about all they recorded.

You can tell the Eggs were seasoned performers the instant their record hits. These fun, good-natured country tunes have a smooth, Steely Dan vibe, sounding at times squeaky clean, loose & tight, honest and raw. All but one are originals, with writing and singing duties equally distributed between members Austin Delone, Jack O’Hara, and Brien Hopkins. The songs are surprisingly versatile: “Party, Party” is a pure sweet ’70s treat,  just what the title says, “Arkansas” is a gorgeous, foot-tapping roots ballad, “Runnin’ Down to Memphis” is straight country, and a couple harder blues numbers round things out (though “The Factory” is my one skippable track and I’m not too big on “Night Flight” despite its Bowie-tinged flavor). I originally thought the record was a little top-heavy, considering how the first three tracks seem to climax during the anthemic chorus to “Henry Morgan,” but Good ‘N’ Cheap is loaded with gems. These are pretty advanced compositions for a bar band, “Home To You” and the nearly epic “Pistol On A Shelf” are unmissable tracks. Same with “Face Down In The Meadow” and “Don’t Let Nobody,” which feel like instant classics.

It’s the kind of record where you savor the bonus cuts. “111 Avenue C” gives us a taste of the live Eggs act, featuring some intense scatting at the back of this swinging blues number. Also included is the infamous “Bar In My Car” (“put a bar in the back of my car and drive my self to drink”) and is actually one of the band’s catchiest moments.

There is reportedly a 2nd album out there, recorded in 1982 called Fear of Frying. I have yet to track it down but based on this debut, it’s a joke it hasn’t been properly reissued. In any case, Good ‘N’ Cheap is no doubt essential to any fan of Americana and pub rock. Sincere, sweet, feel-good music.

“Arkansas”

:) Original Vinyl | 1972 | A&M | search ebay ]

Hoyt Axton “Joy to the World”

| Americana,Classic Rock,Country Rock,RnB

After too many years over-exposure to the words “Jeremiah was a bullfrog…” I thought I would never make it all the way through another version of “Joy to the World.” Hoyt Axton’s original delivers the goods though, and much more to dig on this 1971 gem, his most celebrated and “hits” filled record.

In quotations since none of the “hits” were from his own version. Before any research, it sounds like a collection of covers, but I was surprised to learn he actually wrote “Joy to the World,” “Never Been to Spain” (both as made famous by 3 Dog),  and “The Pusher” (Steppenwolf). Clearly a talented songwriter but a damn fine performer at that, seeing as how his originals endure better today than their played-out cover versions. These productions are raw, but layered and textured, a bit twangy and sometimes pumped up with an overdriven gospel chorus. It’s a kind of sound that could even sound good on blown out speakers.

Axton’s vocal varies track to track: sometimes it’s a little unconvincing, like on the swampy “California Women” (great work with the blues harp on this one), but a couple lines in he’ll hook you back. The payoff is in the growl and squonk when his voice is most worn.

This record’s worth it for some key moments. The panning moog (or distorted bass guitar, sax? can anybody call it?) on “Alice in Wonderland’s” addicting chorus.  The first verse of “Lightnin’ Bar Blues” (another song so good I can’t believe it’s original) before the bar fight sound effects nearly ruin the track. And “Have a Nice Day,” now that’s my kind of tune, it’s like the content of a R. Davies track with some J. Sebastian feel.

Get this any way you can find it, but the Raven CD reissue comes as a 2fer with his previous recording, Country Anthem, another great one.

“Alice in Wonderland”

:) Original Vinyl | 1971 | Capitol | search ebay ]
:D CD reissue | 2001 | Raven | 2fer | at amazon ]

Morgen “Morgen”

| Classic Rock,Garage,Psych

Morgen was a hard rock/psych band that hailed from Long Island, NY.  They were fronted by guitarist/vocalist/wild man Steve Morgen but also included drummer Bob Maiman and guitarists Barry Stock and Rennie Genossa.  In 1969, record label Probe (ABC) released the group’s sole offering.

The album’s best known track is the classic “Welcome To The Void.”  40+ years later this cut’s over the top acid guitar work and pounding drums still shred the best of speakers.  Certainly a unique mixture of acid garage and hard rock, “Welcome To The Void” is essential listening.  There are other great cuts to be found on Morgen, like the stealth rocker “Purple” and the freaky fuzz corker “Of Dreams.”  “Eternity In Between,” probably influenced by the Who, is another excellent track that begins with ringing guitars and crashing drums.  This 5 minute song is nearly ruined by a two and a half minute drum solo.

Steve Morgen’s sexually charged lyrics and over the top vocals will irritate some listeners but that’s really a minor complaint as most of Morgen is full of great fuzz guitar solos and solid songs.  No beads or flowers for these guys, Morgen is straight up brooding hard rock psych.  A mini gem of a record that will reward patient listeners.

Over the years Morgen has been reissued by grey area bootleggers Eva and Radioactive.  Originals may set you back a few hundred dollars.

“Welcome To The Void”

:) Original Vinyl |1969 | Probe | search ebay ]

Manfred Mann’s Earth Band “Manfred Mann’s Earth Band”

| Classic Rock,Prog

The Small Faces, the Pretty Things, the Zombies and the Move have seen numerous write-ups, send offs, and press in all the big-time (and small-time) classic rock publications.  But of all the major British Invasion acts, none has been as ill-served and neglected in rock critic circles and the collector circuit as Manfred Mann.  Mann and his group are usually thought of as a singles act, which is a cryin’ shame as many of their albums are great if not better than that.  Manfred Mann’s Earth Band followed the excellent jazz rock explorations of Chapter Three (Volume 1 is a stone cold classic).  The self-titled Earth Band debut remains one of the forgotten progressive rock masterpieces.  Manfred Mann’s Earth Band is an LP that’s actually worth hearing as it’s one of the best albums of its time and a fan favorite of sorts.

Originally the Earth Band had been working on Stepping Sideways, a rootsy album that was scrapped in favor of newer, more challenging material, which had been part of their live act at the time.  Many of the Stepping Sideways tracks are as good as much of what ended up on the Earth Band’s debut.  Most of the lost Stepping Sideways sessions later appeared on the Earth Band’s outtake box set, Odds & Sods.

On Manfred Mann’s Earth Band, the group take the best aspects of pop and progressive music and meld them into something original and distinctive.  Manfred Mann’s Earth Band came out in 1972, the height of the progressive rock boom.  The album is half covers, half originals.  There are no long, wanky keyboard solos, everything here is well structured and tight – the band cooks throughout.  Mann still kept some of the rootsy singer songwriter material from the earlier, Stepping Sideways sessions.  “Part Time Man,” a cover of Dylan’s “Please Mrs. Henry,” and “I’m Up and I’m Leaving” are all wonderful, underrated cuts that hold up to repeated plays. Other worthy tracks are “Captain Bobby Scout” which features a cool middle synth section, “Tribute,” a mysterious space rock instrumental and the great, hard rocking “Prayer.” Mann’s use of the Minimoog/synth/keyboards is inventive and often overlooked, he never loses focus or falls prey to mindless self-indulgence.  The album’s centerpiece, a cover of Randy Newman’s “Living Without You,” was a minor US hit and is perhaps the best version of this song you’re likely to hear.  The Moog work on this track is subtle but powerful while the hooks are huge.  “Living Withou You” is one of those great early 70s singles that wasn’t a big hit, but truly deserved to be.  Overall, not a wasted note or duff track to be found on this lost classic.

“Part Time Man”

:D CD Reissue | 2009 | Polydor | at amzn ]
:) Original Vinyl | 1972 | search ebay ]

Creedence Clearwater Revival “Bayou Country”

| Americana,Classic Rock,Country Rock,RnB

For a long time I wondered why four guys from the musical wellhead that was late ˜60s San Fran set out to sound like a swamp’n’roll band from the backwoods of Louisiana, whilst accepting as perfectly natural that five young long-haired white boys from London, England should have bust their guts to emulate a black 1950s Chicago bar band. Eventually I stopped wondering and started trying to pin down why this album has remained Creedence’s most underestimated, least discussed collection, despite coming closest to the ideal they sought. Not that it didn’t sell; just that nobody ever seems to mention it till near the end of a CCR conversation, if at all. And at the time of writing it’s running a distant fourth in The Rising Storm’s Creedence discography uReview vote.

The undeniable ability of John Fogerty’s outfit to produce immaculate three-minute power-pop singles shines throughout CCR’s oeuvre, from Suzie Q to Sweet Hitch Hiker. But this album finds the band stretching out on what is to all purposes a live stage set performed in the studio: raw and honest, high energy, no discernable overdubs. The three long, sweaty, riffing jams “ Born On The Bayou, Graveyard Train and Keep On Chooglin’ “ and the shorter but similar Bootleg get as close as CCR ever did to the authentic swamp-rock of Tony Joe White. On the mandatory classic rock’n’roll cover Good Golly Miss Molly John does what Paul McCartney did on the Fabs’ version of Long Tall Sally: his eviscerating vocal simply leaves the original for dead. Proud Mary is the hit single, but despite its prettiness it’s the weakest cut on the album, as the pace and energy level dip temporarily. The real surprise, and true gem, of the whole collection is Penthouse Pauper, an uncharacteristic twelve-bar blues on which both John’s voice and his Telecaster are fit to strip wallpaper.

The straightforward, no-frills nature of Creedence’s music enabled them to record and release an astonishing six albums in two-and-a-half years, from July 1968 to December 1970. (Think on that, Coldplay.) Whilst on an extended vacation in western Canada in 2007 I got to talk to and play with a number of young musicians who weren’t born till years after these albums came out. I was surprised to find that CCR was right up there as one of their favourite acts to cover. I guess I shouldn’t have been surprised: the simple but irresistable songs, the natural, unaffected guitar sound and that unique banshee voice have a genuinely timeless quality.

“Penthouse Pauper”

:D CD Reissue | 2008 | Fantasy | at amazon ]
:) Original Vinyl | 1969 | Fantasy | search ebay ]
;) MP3 Download | at amazon ]
8-) Spotify link | listen ]

The Beach Boys “Landlocked Sessions”

| Classic Rock,Pop,Psych

The Landlocked Sessions were recordings made in 1969/1970 after the Beach Boys left Capitol records and signed on to the Warner/Reprise roster.  The Boys’ new label rejected these recordings, feeling they did not capture the group at their best (in a purely commercial sense).  So fans miss out on great quirky tracks like “Loop De Loop,” “I Just Got My Pay,” “San Miguel,” “Suzie Cincinnati,” and the gorgeous Dennis Wilson penned gem “Lady.”  Some tracks would appear on later albums Surf’s Up and Holland (check out the great version of “Big Sur” or the 5 minute “Till I Die”).  In response to major label demands, the Beach Boys fired back by releasing the masterful Sunflower in 1970, followed by 71’s classic Surf’s Up.  These records were special not only for their quality but because they represented a creative rebirth of sorts – the material on hand was excellent, abundant and cutting edge.  Landlocked is the very beginnings of this early 70s renaissance.  Much of it has never been officially released but it’s all great stuff that’s worth hearing.

Copies (bootlegs) of Landlocked are usually coupled with another unreleased Beach Boy’s album, Adult Child.  Also, some bootlegs of Landlocked include the glorious Brian Wilson penned “Soulful Old Man Sunshine.”  This track was cut in 1969 and eventually/officially released on 1998’s Endless Harmony.  Its unique brass arrangement gives it a blue-eyed soul sound.

It always amazes me how many great unreleased recordings and false starts the Beach Boys had during their heyday.  Their outtakes and unreleased albums are better than most groups’ best material.

“San Miguel”

Timebox “Beggin'”

, , | Classic Rock,Psych,RnB

You could say Timebox got a pretty fair deal out of life when compared to other bands we feature here in these pages.  They had a top 40 hit with the Four Seasons’ “Beggin’,” are represented by two terrific cd reissues and their story has been told countless times by all the serious rock n roll magazines/fanzines (Record Collector, Mojo, Shindig, and Ugly Things).   Timebox’s roots lay in the Take 5, a group who came from Southport, England (near Liverpool) and featured talented drummer/guitarist/vibraphonist Peter (Ollie) Halsall.

The group’s classic lineup didn’t really stabilize until early 1968.  By that time Timebox looked something like this: Mike Patto (lead vocals), Ollie Halsall (guitar, vibes and vocals), Chris Holmes (keyboards), Clive Griffiths (bass), and John Halsey (drums).  Prior to these personnel shifts Timbox had released three 45s in 1967.  Piccadilly issued the first two 45s which were largely instrumental efforts but in the cheerful Swingin’ London style.  The A-side of the first 45, “I’ll Always Love You,” was an excellent pop-soul number, similar in style to the early Action or Small Faces – in other words real mod pop.  In late 67 the group switched over to Deram and released one of the jewels in their crown, a superb cover of Tim Hardin’s “Don’t Make Promises” backed by the soulful acid pop of “Walking Through The Streets Of My Mind.”  Timebox’s version of “Don’t Make Promises” was rather special in that Ollie Halsall played sitar and vibes; the song was dramatically rehauled into something imaginative.  The next single was Timebox’s run at the big time.  “Beggin'” topped out at 38, their highest chart entry by some distance but it was again, a great remake of the Four Seasons classic.

By this time the Patto/Halsall songwriting partnership had began to solidify into something productive.  The group began crafting records that were both experimental but also radio friendly.  Timebox needed a hit 45 for survival.  Their next Deram release was a baroque soul pop number titled “Girl, Don’t Make Me Wait.”  While this track was respectable enough,  it was the brilliant, swirling psychedelia of the B-side that caught my attention most.  “Gone Is The Sad Man” is comparable to a really good track off the Beatles’ Magical Mystery Tour: dense, tripped out psych rock.  This single stiffed as did Timebox’s next two Deram releases.  The best of these were “Baked Jam Roll In Your Eye/Poor Little Heartbreaker.”  The A-side was another slice of skewed psychedelia that recounts the tale of two dozen martians who are led by Galloping Klaus (a German martian?).  It’s flip side edged comfortably toward classic rock and is a fine slice of metallic angst.

After so many failures Timebox finally broke up around 1969/1970.  Out of the ashes of Timebox came Patto, the great progressive rock outfit formed by Mike Patto and Ollie Halsall.  Timebox is usually remembered as a table setter for Patto, who would release 3 classic progressive LPs in the early 70s.  RPM’s Beggin’ (2008-) collects all Timebox’s 45s (including a rare French release) and much of the Moose On The Loose sessions.  These sessions were recorded in 1968/1969 for what would have been a projected Timebox album.  The group recorded about a dozen tracks at Morgan Studios in Willesden.  Decca heard the results and hated it.  They pulled out, leaving this unheard gem in the vaults for many years.   To my ears Moose On The Loose would have been a fascinating album, close in sound to Traffic’s self-titled 2nd LP.  There’s catchy psych pop (“Promises,” “Tree House,” and “Barnabus Swine”), effective Traffic-like forays into roots rock (“Love The Girl,” “Country Dan and City Lil,” and “Stay There”) and blazing hard rock (“Black Dog”) that point to the future direction Patto and Halsall would take with their progressive outfit.  These recordings highlight Patto’s soulful vocal approach and Ollie Halsall’s wizardry on guitar and vibes .  The Moose On The Loose tracks deliver the goods and prove once and for all that Timebox was one of England’s great lost pop groups.

“Walking Through The Streets Of My Mind”

:D CD Anthology | 2008 | RPM | buy at amazon ]

Jericho “Jericho”

| Americana,Classic Rock,Country Rock

Jericho

Has classic rock radio made a bad name for itself because the music doesn’t wear well with age, or is it because they keep playing the same old shit? In a perfect world, classic rock gems like Jericho would no longer be neglected by the airwaves and listeners would abound in new sounds from a previous era. Just imagine your local classic rock station slipped in one cut off this record, in place of the usual barrage of Zep and Skynyrd repeats; there could easily be a demand for this sweet sounding, authentic-as-it-gets, yet unissued and unplayed recording.

Jericho members Frank DiFelice, Denny Gerrard, Fred Keeler, Gordon Fleming hailed from Canada and recorded this one-off at the famous Bearsville studio in Woodstock, with engineering and production by Todd Rundgren. These guys were a part of the same scene as Jesse Winchester and The Band, sharing Rundgren as producer and art director Bob Cato between this and Stage Fright, and the music falls right in line, albeit with a harder edge.

They bust down the door with “True Fine Girl,” sounding like the Band on steroids with overdriven organ and screeching guitars notching a next-level sound. “SS #4” even sounds a little like hard rock “Cripple Creek,” but the key here isn’t loud guitar rippin but a loose knit down-home groove. There are nasty prog moves and killer Clavinet shredding on “Cheater Man;” Gordon Fleming really steals the show on keys, often overshadowing the guitar leads (a rare feat for keyboardists). “Baby’s Gone Again” is a blues that shuffles harder than Cream and “Backtrack” is a killer Edgar Winter style instrumental with gnarly parts played thru Garth Hudson’s own Leslie speaker and Clav. I’m a sucker for “Goin’ To The Country,” a goofy, stoned country groover with wowy Moog bass replacing the “jug” line. The vocalist shines on this little number (vocals are really great all the way through, actually) that definitely stands out from the rest.

One track, “Make It Better,” would score a minor hit, but Jericho would be largely forgotten, unissued since its original release. I do find that this record tends to push a little too hard; it’s kind of relentlessly hard-rockin. But it deserved much more than it got.

“Backtrack”

:) Original Vinyl | 1971 | Bearsville / Ampex | search ebay ]

はっぴいえんど 風街ろまん (Happy End “Kazemachi Roman”)

| Classic Rock,Country Rock,Folk

Kazemachi Roman

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)”

:D CD Reissue | search ebay ]

Manassas “Pieces”

, , | Americana,Classic Rock,Country Rock
Pieces is just what the title says, but shouldn’t be discounted. The original Manassas album was a disconnected smattering of “pieces” itself. Nobody had combined country, rock, salsa, blues, and bluegrass like Stephen Stills’ powerhouse 7-piece that formed out from the wake of CSNY and the Burrito Brothers.
Pieces collects some leftovers from the Miami sessions that led to the first album (“Witching Hour” “Like A Fox”), warmups and ideas intended for the lost 2nd Manassas album, Down The Road (“Lies” “Love and Satisfy”), and what Stills refers to as “Chris Hillman and Byron Berline teaching me bluegrass” (“Panhandle Rag” “Uncle Pen”). Other tracks are electrified covers from Stills 1 & 2, the largely successful solo albums that gave Stephen the freedom to form a band like Manassas.
I can’t imagine Stills had heard the original Fox On The Run by Manfred Mann, which the Country Gentlemen would turn into a bluegrass standard, before writing Like A Fox. Even with Bonnie Raitt lending her voice, the chorus is still hard to listen to under the circumstances. The bluegrass numbers have no knockout picking, but a treat to hear Stills and Hillman harmonize on “Uncle Pen.” “Do You Remember The Americans” is bluegrass cooler than I’ve ever heard, a song that I wish had spawned an entire record’s worth.
“I Am My Brother” is a sick solo blues proves Stills true worth.
Al Perkins on steel

Pieces

Pieces is the perfect name for this new Manassas outtakes collection from Rhino.  Nobody had combined country, rock, salsa, blues, and bluegrass like Stephen Stills’ powerhouse 7-piece that formed out from the wake of CSNY and the Burrito Brothers, and their eponymous album was a disconnected smattering of “pieces” itself. This new hodgepodge of unheard treats may be scattered, but it’s right in line with tradition and kicks ass like any Manassas fan would expect.

Pieces collects some leftovers from the Miami sessions that led to the first album (“Witching Hour” “Like A Fox”), warmups and ideas intended for the 2nd Manassas album, Down The Road (“Lies” “Love and Satisfy”), as well as what Stills refers to as “Chris Hillman and Byron Berline teaching me bluegrass” (“Panhandle Rag” “Uncle Pen”). Other tracks are electrified covers from Stephen Stills 1 & 2, the hugely successful solo albums that gave Stephen the freedom to form a band with Doug Sahm level schizophrenia.

There are a number of gems here; “Witching Hour” and “Sugar Babe” are easy classics. Stills throws together the chorus of “Like a Fox” last minute and presages  Manfred Mann’s “Fox On The Run” (which the Country Gentlemen would turn into a bluegrass standard) word for word. Only problem, even with Bonnie Raitt lending her voice, I can’t hear past the Manfred version to this one. On Side B, the bluegrass numbers have no knockout picking, but it’s a treat to hear Stills and Hillman harmonize on “Uncle Pen.” “Do You Remember The Americans,” however, is cooler grass than I’ve ever heard. I wish Stills had recorded an entire album in this vein. “I Am My Brother” is a sick solo blues to prove Stills’ immense talent and soul.

This is a no-brainer for Stills, CSNY, Byrds, Burrito, or rock music fans.

“Do You Remember the Americans?”

:D CD Compilation | 2009 | Rhino | buy at amazon ]
8-) Spotify link | listen ]