Archive for the ‘ Country Rock ’ Category

Cowboy “5′ll Getcha Ten”

| Americana,Country Rock,Folk

Cowboy were a country-rock group usually remembered for their associations (The Allman Brothers and Eric Clapton) rather than the fine body of music they produced in the early 70s. 5′ll Getcha Ten was Cowboy’s second LP, released by the Capricorn label in 1971.  Never released on cd, this is arguably Cowboy’s finest moment and indeed one of the best forgotten country-rock albums from the late 60s/early 70s.  It’s worth mentioning that one of Cowboy’s key members, guitarist, vocalist and songwriter Tommy Talton was formerly in the great Florida garage rock group We The People.  Scott Boyer, Cowboy’s other key member, played guitar and co-wrote many of group’s songs.

Fans of Crazy Horse, Poco, and CSNY will want to own this fine album.  Cowboy’s sound is similar to Poco but instead of rocking out Talton and Boyer prefer a more relaxed, introspective back porch sound.  Only on the excellent “Seven Four Tune” does Cowboy truly let loose and rock out.  Every track on 5′ll Getcha Ten features transcendent harmonies (perhaps the group’s greatest asset), terrific songwriting, and strong musicianship – these boys can play.  If it’s any consolation as to the quality of the music here, Eric Clapton chose to cover Cowboy’s bluesy country-folk number “Please Be With Me” on his classic 461 Ocean Boulevard album.  Other great tracks include an upbeat number with electric sitar titled “Right On Friend,” the introspective “Innocence Song,” and “The Wonder,” a superb track that recalls Crazy Horse circa 1971.   Duane Allman playing dobro/guitar on 5′ll Getcha Ten adds a little star power and credibility to the proceedings but don’t let this be the reason you purchase this album (vinyl originals can still be found for cheap!). In their own right, Cowboy were a talented group of musicians who made great music.  5′ll Getcha Ten is a classic roots rock album that deserves a lavish LP or cd reissue.  Also, Cowboy’s debut, Reach For The Sky and their 1974 album, Boyer & Talton are great records worth seeking out.

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“The Wonder”

:) Original | 1971 | Capricorn | search ebay ]

Delbert and Glen “Delbert & Glen”

| Americana,Country Rock,RnB

Delbert and Glen were a country-rock group that was founded by two Texas musicians, Delbert McClinton and Glen Clark. Prior to that, McClinton, a musician’s musician, had began his career in the late 50s, playing harmonica on Bruce Channel’s classic 1961/1962 hit single “Hey! Baby.” After touring with Channel in England, McClinton went on to form his own mid 60s folk-rock group, the Rondells. The Rondells kicked around the Fort Worth scene, recording some material (but never an official album), most famously, the orignal version of “If You Really Want Me To, I’ll Go” (covered by the Sir Douglas Quintet). When McClinton relocated to LA, he met up with Fort Worth musician Glen Clark. These two musicians recorded two very good Texas-style country-rock albums for Atlantic affliate Clean Records.

Delbert and Glen was the first of these efforts, released in 1972. Songwriting credits are split evenly between the two artists but McClinton’s harmonica playing and hoarse, soulful vocals were the highlight of this LP. Delbert and Glen differentiated themselves from the twangy country-rock crowd by crafting a unique mixture of ballsy, intimate texas music: greasy blues, hillbilly country music, gospel, raucous rock n roll, and funky Southern-style jive. The 1972-1973 era was a prolific time for both musicians as they served up a handful of lost Americana classics. Songs such as “Old Standby,” “I Received A Letter,” “Here Come The Blues,” “I Feel The Burden,” “Everyday Will Be Like A Holiday,” and “Ain’t What You Eat But the Way That You Chew It” are wonderful examples of the genre. My hit picks are the gorgeous, soulful pop of “Everyday Will Be A Holiday,” the tough rocking album opener “Old Standby” (what a great track!) and the underrated country tune “All Them Other Good Things.” Alternative country and country-rock fans cannot miss this gem and are urged to track down these recordings – they are essential. Also, check out the duo’s worthy swan song from 1973, titled Subject To Change.

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“Old Standby”

:D Reissue | 2005 | Koch Records | buy here ]
:) Original | 1972 | search ebay ]

The Rondells (1965): http://www.youtube.com/watch?v=JVBKm8xo2rI

Hill, Barbata & Ethridge “L.A. Getaway”

| Blues,Country Rock,RnB,Soul

Anybody familiar with L.A. canyon-rock circa 1970 should be familiar with the name Chris Ethridge. Having more or less made his debut as the R&B-minded bass player with the Flying Burrito Brothers, the man soon went on to become one of Americana’s most in-demand session players, serving with everyone from Phil Ochs to Ry Cooder to Judy Collins. There’s a good chance that you can find him on more than one of your favorite records. A less recognized part of Ethridge’s career, however, is his time served as a member of Hill, Barbata & Ethridge, a tight congregation of musicians who had until the band’s formation only really been seen working the sidelines of the nascent country rock movement. John Barbata probably had the highest profile of any of them, having spent several years manning the kit for sardonic folk rockers The Turtles, while singer Joel Scott Hill had only cut a couple of solo sides for small independent labels out of the west coast.

So it was really only with L.A. Getaway that these three really got a chance to shine on their own. Hill, perhaps the largest unknown quantity here, turns up positively mind-blowing on cuts like “Old Man Trouble,” where he takes Otis Redding’s classic heart breaker and wrenches out one of the most satisfying blue-eyed soul performances I’ve ever heard. Ethridge, whose bass work has always lain somewhere between Stax and McCartney, finally gets a chance to work out his R&B tendencies, having heretofore been confined mostly to country and folk-rock music. I should also mention the cast of supporting players here, if only to emphasize the weight these cats held in the world of Los Angeles rock and roll. Hammering the piano and Hammond organ are none other than the holy quadrumvirate of Leon Russell, Spooner Oldham, Booker T. Jones, and Mac Rebennack. Clarence White throws down some trademark guitar solos.

If there is any part of this record which disappoints, it is in the fact that the band here relies so much on other people’s material. Though songs like Dr. John’s swampy “Craney Crow” and Allen Toussaint’s woozy closer “So Long” are given strong and inspired readings, the most memorable moments come with Ethridge’s numbers, such as the barnstorming “It’s Your Love,” which could have been a radio staple had fortune only dealt more cards in their favor. His laconic vocal drawl on the twangy title track, a wry kiss-off to the smoggy city, makes one wish he had gotten a chance to record more of his own material in this way. Otherwise, the band’s treatment of rock and roll standards like Chuck Berry’s “Promised Land” and Sonny Boy Williamson’s “Eyesight To the Blind” are fun, but not remarkable.

It’s a shame that L.A. Getaway didn’t get the chance to develop further than this one album. All three musicians would go on to other high-profile ventures, though I would argue that their sum was greater than their parts. John Barbata would serve time in many different bands through the seventies, from Jefferson Airplane to Crosby, Stills, Nash & Young, while Hill joined up with Canned Heat for a couple of years. Eventually, him and Ethridge were reunited in a latter-day incarnation of the Flying Burrito Brothers, though the recordings they made under that name, including 1975′s Flying Again, are a solid disappointment, especially in regards to Hill’s vocal performances.

L.A. Getaway did in fact see a compact disc reissue in 2004, courtesy of Water Records, but it has since fallen back out of print. At this point it’s probably easier to track down an original vinyl copy, though if the word gets around one hopes that this long-neglected classic will soon be made available again.

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“It’s Your Love”

:) Original | 1971 | Atco | search ebay ]
:D Reissue | 2004 | Water | get it here ]

Roger Morris “First Album”

| Americana,Classic Rock,Country Rock,Pop

Roger Morris’ First Album, released by Emi/Regal Zonophone in 1972, stakes a claim as one of the most American sounding British-folk albums of the seventies. Along with the painfully obscure solo album by Ernie Graham, First Album is one of a handful of rustic singer-songwriter lps of the era that landed unjustly under the radar. Owing much to the back-to-the-roots sound and vibe of The Band, Bobby Charles, and Hungry Chuck, and falling somewhere in between the British folk of the late 60s, the British country-rock of the early 70s, and the pub rock renaissance that would follow several years later, this album features contributions from a host of talented British musicians, including: the popular De Lisle Harper; Glen Campbell of Juicy Lucy and The Misunderstood; Family’s John Weider; Rod Coombes of Strawbs and later, Stealer’s Wheel; Chris Mercer; Terry Stannard of Kokomo; and Bruce Rowlands of the Greaseband. Obviously, the playing on this album is top notch. Furthermore, Morris comes across as a surprisingly accomplished songwriter.

On album opener “Taken for Granted” Morris mourns the loss of past loves to the tune of a folky country-rock number that calls to mind the early work of Help Yourself, as well as Ian Matthews. “Golightly’s Almanac” has a funky Bearsville ragtime feel, complete with a Tuba holding down the low end and a catchy horn part, sounding very similar to The Band’s “Rag Mama Rag” or Hungry Chuck’s “Hats Off America.” Morris’ vocals, which can sometimes be hit or miss, really excel on “Showdown”, one of the standout tracks of the set.  “Northern Star” features some tasty pedal steel and fiddle riffing courtesy of talented multi-instrumentalist John Weider, while “Livin’ On Memories” sounds similar to “Orange Juice Blues” off of The Basement Tapes, with Morris taking a cue from Richard Manuel’s vocal phrasing.

Morris’ account of one man’s experience in the years after the Civil War ,“All My Riches,” is his equivalent to The Band’s epic “The Night They Drove Old Dixie Down.” Morris’ tune, while not a total failure, never comes close to reaching the heights of The Band’s legendary song. If there’s any complaint to be made about First Album, it would be that Morris’ influences are worn right on his sleeves. However, this was in fact his first album, so you’ve gotta give the guy a break for letting his influences show a little bit.

Needless to say, First Album is essential listening for fans of the rustic Americana The Band perfected on their first three records, as well as fans of Silver Pistol era Brinsley Schwarz, early McGuiness Flint and Help Yourself, and Matthews Southern Comfort. Simply one of the best obscure British folk/Americana flavored singer-songwriter lps of the era, this one is worth tracking down. Although this, his first lp, was virtually ignored upon its initial release, Roger would later find his audience when he went on to achieve international recognition as the guitarist in The Psychedelic Furs. In 2009 Bella Terra Presents released a tastefully remastered limited edition cd reissue featuring four previously unreleased bonus tracks that were recorded just a year after First Album, as well the original album artwork and a lyric sheet insert. That same year Lilith Records released a version pressed on 180 gram vinyl. Take your pick!

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“Showdown”

:) Original | 1972 | Regal Zonophone | search ebay ]
:D Reissue | 2009 | Riverman | get it here ]

Judee Sill “Judee Sill”

| Americana,Baroque,Country Rock,Folk

Judee Sill’s self-titled debut hit the shelves in 1971, the first release on David Geffen’s Asylum Records. Unjustly lost amongst the sands of time, and out of print for many years until it’s reissue a few years ago, Judee Sill is one-of-a-kind, an essential album, a defining example of West Coast canyon country, a hauntingly beautiful record by an extremely delicate soul and one of the 70’s most talented singer-songwriters.

Sill had been playing musical instruments of various kinds since her troubled childhood on the West Coast, which she spent dreaming of being a singer, a songwriter, and a star. An even more troubled young adulthood spent dabbling in hard drugs, armed robbery, and prostitution had landed her stints in reform schools and jail cells. After a near fatal overdose and a brush with the law that left her kicking heroin in a county jail cell, as well as the death of her brother and mother, Sill–who was increasingly drawn to metaphysical topics and occult, religious imagery–began taking her songwriting seriously. Her first big break came after landing a gig writing songs for Blimp Productions in Los Angeles when The Turtles decided to record a version of her song “Lady-O.” It was immediately clear to those around her that Sill had developed a lyrical style as distinctive as her achingly beautiful crystal-clear-as-a-mountain-stream singing voice. The time was ripe for Sill to make her “country-cult-baroque” vision a reality.

Opening with Judee’s fingerpicked guitar and a lone French horn, “Crayon Angels” is a beautifully evocative song, an honest prayer for heavenly hands matched with a gently breezy pastoral vibe perfectly suited to Judee’s delicate voice. Next up, “The Phantom Cowboy” lets Judee’s dirt road roots show through a little more while introducing the archetype of a traveling mystic ridge rider that appears frequently throughout Judee’s body of work. “The Archetypal Man” has even more of a laid-back Topanga-folk vibe with weeping pedal steel combined with baroque orchestral flourishes. “The Lamb Ran Away With The Crown” is an absolutely beautiful tune that kicks off with just Judee’s softly reassuring voice and lilting guitar, perfectly expressing Judee’s belief in the possibility of goodness in the world. The lushly orchestrated “Lady-O” goes miles beyond The Turtles recording of the song, showing just how unassumingly evocative Judee’s vocal delivery can be. Similarly, Judee’s performance of “Jesus Was A Cross Maker” is the definitive version of the song, which is perfectly suited to her crystalline vocalizations and the gospel piano inflections that she learned while leading the church choir as a teenager in reform school. Produced by Graham Nash, the song was a last minute addition to the album, obviously in high hopes of a hit.

“Ridge Rider” further fleshes out Judee’s vision of a bohemian saint who rides the rough road to salvation despite its perils, complete with tasty pedal steel and the sound of hoof beats carrying along the chorus. “My Man On Love” is an enchanting folk song full of Christian imagery. “Lopin’ Along Through the Cosmos” plods along at a pace just a bit slower than the rest of the album as Judee again pleads for the gift of peace. “Enchanted Sky Machines”, a song about salvation by UFO, quickly picks up the pace, beginning with another groovy gospel piano part that’s soon accompanied by brassy horns and upbeat drums. The beautifully orchestrated “Abracadabra” closes the album on a tender note and a major key.

Despite it all, Judee Sill didn’t sell as well as the troubadour and her friends had hoped. Nevertheless, she soldiered on to record and release 1973’s Heart Food, an equally outstanding album, which made even greater use of both her gospel influenced keyboard playing and her talent for orchestral composition. Sadly, Heart Food sold even fewer copies than the first album and Judee’s life began to gradually deteriorate. After a handful of auto-accidents in the late seventies Judee once again began turning to codeine, cocaine, and heroine in an attempt to numb the pain she suffered from so greatly.  Judee’s life was cut tragically short the day after Thanksgiving 1973 1979, when she died after overdosing on codeine and cocaine. She was 35 years old.

Who knows what heights Judee and her music may have reached had she lived long enough for more people to pick up on her gentle genius? Both Judee Sill and Heart Food rank right up there with the best from giants like Joni Mitchell, Laura Nyro, Sandy Denny, and Carole King, as well as releases by other unsung souls like Collie Ryan, Karen Beth, and Vashti Bunyan. Forty years later there still isn’t anything than can truly compare.

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“Crayon Angels”

:) Original | 1971 | Asylum | search ebay ]
;) MP3 Album | download here ]
8) Spotify link | listen ]

Taos “Taos”

| Country Rock,Pop,Psych

Here’s an unusual jewel, released on Mercury Records in 1971. The band Taos was actually a quintet pieced together by a group of young men who had moved to the legendary Taos commune in the early 1970s, namely: Jeff Baker on guitar and vocals, Steve Oppenheim on keyboards and vocals, Albie Ciappa on drums, Burt Levine on guitar and banjo, and Kit Bedford on bass, with the occasional intermixing of instruments going on in between cuts. If the band’s commune connection leads you into expecting some sort of stoned, improvisational musical meanderings, however, you’re in for a surprise: their sole, self-titled record is pop music all the way.

Indeed, the band itself is surprisingly together, tempering mildly eccentric diversions into psychedelia and country music with a solid foundation in 1960s rock and roll. If there’s one band to which Taos owes its biggest debt, I’d say it would have to be The Beatles. Kit Bedford’s warm, melodic bass work channels Paul McCartney all the way, while the group’s vocal harmonies show a tendency to lean more towards the ragged schoolboy charm of the Four than the choirboy constructions of American groups such as the Byrds, or the Mamas and Papas. This influence is not to say that Taos lacks an identity of its own, however. On the contrary, they manage to take this influence in surprising directions, whether it’s the lonesome cosmic cowboy pastiche “After So Long” or the phased psychedelic boogie of “Twenty Thousand Miles In the Air Again”.

Despite the general cohesiveness of the album, however, there are the occasional faults, such as the unnecessary, repeating theme “The Day Begins,” which should have simply been turned into a full-fledged song rather than left as fragmentary interruptions in the tracklist. Every now and again the musicians also reveal a slight weakness in the vocal department, as the slightly squirrely lead on “Morning Sun” illustrates. Lastly, the song lyrics aren’t really worth shedding too much ink over – there’s certainly no metaphysical contemplation or social commentary going on here, whatever other Sixties sensibilities the record may boast. These latter complaints border on quibbling, though, because the music here is almost too much fun to criticize. Again, this is pop music, and should be enjoyed for what it is. I think that Taos is certainly consistent enough that, if you’re digging the tracks below, you’re gonna like what you hear the rest of the way through.

Unfortunately, Taos is currently unavailable digitally. Yeah, there had to be a bum note at the end of all this. It looks as if you all are going to have to search this one out on vinyl, though at the time of writing this article it looks as though there are at least a few copies haunting eBay for around ten or fifteen dollars apiece, which certainly ain’t bad. And speaking of the vinyl, this record comes adorned in a really great gatefold sleeve, with pictures of the band rehearsing and bumming around Taos. I’m almost tempted to imagine the psychedelic, southwestern Hard Day’s Night bouncing around in these kids’ heads.

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“After So Long (So Long)”

:) Original | 1970 | Mercury | search ebay ]

The Beau Brummels “Bradley’s Barn”

| Americana,Country Rock,Folk

By the time Bradley’s Barn (Warner Brothers – 1968) recording sessions commenced, the Beau Brummels had scaled down to the duo of founders Ron Elliott (guitarist) and Sal Valentino (vocalist). Nashville session pro contributions (guitarist Jerry Reed and drummer Kenneth A. Buttrey) tend to overshadow the strong batch of Elliott/Valentino/Durand originals written for this classic LP. Some 40 years after it’s release date, Bradley’s Barn is still considered one of the very best country-rock records. Instead of taking their cues from Buck Owens, Merle Haggard, Hank Williams Sr. and The Louvin Brothers (see The Byrds and Flying Burrito Brothers), the Brummels created their own unique fusion of rock and roots music that’s arguably more original and less reliant on the C&W masters.

Highlights run across the board, making it really tough to single out individual performances. Elliott’s guitar work is nimble, Lenny Waronker’s arrangements/production sparkle (Waronker was a real wild card and major influence during these important sessions) and Valentino’s vocals are rich and expressive. There is no pedal steel guitarist on these recordings but session men used dobros, banjos, keyboards, marimbas and any other instruments they could find in the studio to create a mystical, backwoods vibe. If you think Poco rocked hard, check out the awesome “Deep Water.” “Deep Water” along with “Love Can Fall A Long Way Down”, find the group locked in and at their best – these are country-rock classics. Other key tracks such as “Turn Around” and “Cherokee Girl” have a unique spiritual feel without losing their rock underpinnings. “Bless You California,” a Randy Newman original, recalls the roots/psych fusion of the Beau Brummels 1967 masterpiece, Triangle. Other great cuts: “The Loneliest Man In Town” is the Brummels most traditional country offering while “Jessica” and “Long Walking Down To Misery” progress into excellent songs.

Vinyl originals are easy to find and inexpensive. Check out Rhino’s new double disc reissue (with plenty of great bonus cuts) of this landmark recording while those on a budget might want to consider the Collector’s Choice disc. Records such as Triangle, Bradley’s Barn and earlier material from the group’s jangle folk-rock phase, Volume 2 and From The Vaults, should be part of any serious rock n roll collection.

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“Long Walking Down To Misery”

:D 2cd Reissue | 2011 | Rhino | buy here ]
:) Original | 1968 | Warner Bros | search ebay ]
8) Spotify link | listen ]

Randy Holland “Cat Mind”

| Americana,Country Rock,RnB

There are many different kinds of records. Some latch onto you almost immediately and either stand the test of time or else slip away as easily as they came. Randy Holland’s 1972 album Cat Mind is the other kind; those unusual and sometimes uneven records that take more than one listen to fully appreciate. Released on the independent Mother Records label, it can probably be said that Cat Mind never had a chance at real commercial success. But hell, we’re not interested in the commercial success here – we’re after good records, wherever they ended up and in whatever condition. And Cat Mind is a good record.

Looking at that stark, black and white cover shot you’re probably expecting a good deal of grit here, and the opening cut doesn’t disappoint in that department. The off-kilter flower child stomp of “Bless the Naked Days” also wastes no time introducing the listener to Holland’s rough and nasally voice; a voice which he tends to push to the limits, and often far beyond. Depending on where you’re coming from, I reckon this could either be an acquired taste or a real attraction.

Following this first number, “Colors of Sad” is bizarrely saccharine, and it’s this vivid contrast between wildness and melancholy which perhaps defines this record more than anything else. Holland tilts mercilessly between incisive, jagged rock and roll numbers and melodramatic country cuts, with very little sense of transition or artistic compromise. His uncredited backup band really shines, especially on the former, where they lay down some of the most righteous country-stained rock this side of
Wray’s Shack Three Track. The hot swamp growl of “Muddy Water” is a real highlight, as is the weird title track, graced with scorching Davie Allan-style guitar work and an insistent rhythm section. Holland’s forays into the tamer side of Americana are more hit-and-miss, giving us both the warm and gentle “Ladybug” and an unfortunately overwrought reading of Mickey Newbury’s “Remember the Good”.

Fortunately, however, even the most underwhelming cuts are outweighed by the grittier numbers, and the overall quality and unique character of Cat Mind really does warrant it the kind of reissue treatment afforded so many other lost jewels of the period, such as Vernon Wray’s Wasted. As it stands, it isn’t all that hard to track down a used copy for a decent price. And what ever happened to Randy Holland? From what it looks like, he retired his attempts at making it in the music scene not long after cutting this record and moved to Las Vegas, where he opened an art gallery and devoted the rest of his days to painting and poetry. He passed away a few years ago, truly making this his one and only album.

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“Muddy Water”

:) Private | 1972 | search ebay ]

Gallery “Nice to be with You”

| Americana,Country Rock,Pop

In 1972 Sussex Records released the first and only lp by the Detroit based pop group Gallery, fronted by singer/songwriter Jim Gold. Nice to be with You was produced and arranged by none other than legendary Motown axe-slinger extraordinaire and fuzzy funk brother Dennis Coffey (who also served as producer on the cult classic psych/folk/funk lp Cold Fact by Rodriguez) and his partner in crime, sleeper soul and funk producer Mike Theodore. Gallery’s sole lp is an entertaining slice of wax with a mostly soft-rock vibe that runs the gamut from country-rock to pop-psych to doo-wop to funk, and back again to pop–all the while standing side by side with soft-rock contemporaries of the time like Bread as well as soft-psych folk rock luminaries like Jim Sullivan. Thanks in no small part to the killer team of Coffey and Theodore, a handful of nice production touches really add to the tunes and result in album that stands a cut above many of the soft-rock releases of the time.

The boys kick it off with “Island in the Sun”, a sunny pop tune complete with harpsichord, glockenspiel, marimba, and pedal steel riffs with a Southern Pacific vibe. Things really start to get interesting with the next track, “Louisiana Line,” when acoustic guitar and twangy Telecaster give way to a funky country-rock tune with even more tasteful touches on the pedal steel guitar. Sounding like a slightly funkier version of Poco, the song calls to mind several of the more upbeat tunes on Ian and Sylvia’s excellent funky rural lp Great Speckled Bird, as well as “Move Over” from Bread’s self titled 1969 lp. “Louisiana Line” stands out as one the premier cuts on the album with a funky backwoods beat, an extremely catchy chorus with three part harmonies, and tasty Telecaster twangin’. “Ginger Haired Man” mines similar territory as “Louisiana Line,” featuring bluesy harmonica blowing, and yet another irresistibly catchy chorus.

On the other side of the spectrum, “Gee Whiz” is a 50′s throwback flavored with a touch of doo-wop that calls to mind the the pop-country of the Everly Brothers and their classic tune  “All I Have to Do is Dream,” as well as the ubiquitous “Earth Angel.” “I Believe in Music” pairs a tasty tremolo guitar riff and cowbell with a pre-disco/later day Motown sound full of tambourines, slinky Stratocasters doin’ the disco dance, and of course, syrupy strings. Midway through the song a bold synthesizer make a well appreciated yet extremely unexpected appearance. “Big City Miss Ruth Ann,” the third and final single from the album, sounds like a more polished take on the roadhouse rock of fellow Michigan natives Riley.

The million selling (!) title track, “Nice to be WIth You” is disappointingly sappy, suffering from just a touch too much sentimentality and over-production. On the same token, “Lover’s Hideaway” and “He Will Break Your Heart” are throwaway tracks that lack lyrical depth, catchiness, and punch. If there’s one bum note concerning Nice to Be With You’, it would be that Side B lacks overall when compared with Side A. Furthermore, several of the tracks on Side B seem to make fervent use of blatantly recycled tropes from Side A. Still, the album as a whole is such an entertaining listen in the forgotten early 70s soft-rock vein that no slight lack of killer tracks on Side B is gonna keep this gem off your table.

All things considered, Nice to Be With You is an enjoyable listen by a talented young band that incorporates a handful of early 70s sounds. One minute Gallery recalls the classic pop-psych of Buffalo Springfield; another moment they recall a slightly less greasy Grandma’s Roadhouse; then they step back in time and channel the timeless sound of 50s AM pop; when you’re least expecting it they all of the sudden sound like the Bee Gees after they discovered that disco beat! The bottom line is this–if you’re into vintage pop music, Nice to Be With You has certainly got something that will undoubtably float your boat.

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“Louisiana Line”

:) Original | 1972 | Sussex | search ]
:D Reissue | 2010 | Fuel | buy ]

Gene Vincent “If Only You Could See Me Today”

| Americana,Country Rock

Gene Vincent’s self-titled lp (also known as If Only You Could See Me Today) is the first of a pair of records released by Kama Sutra Records in 1970. Recorded at the legendary Sound Factory recording studio in Hollywood, CA just a year before his untimely death in 1971, Gene Vincent was undoubtably an attempt to cash in on the roots-rock surge of the late 60s and early 70s. Just as Elvis Presley, Ricky Nelson, Link Wray, and the Everly Brothers were busy updating their images and fashioning new sounds for the changing times, so was Gene Vincent. Fortunately, Gene and his band, which featured L.A session ace and Kaleidoscope co-founder Chris Darrow as well as not one, but three members of the infamous Sir Douglas Quintet (Harvey Kagan, Johnny Perez, and Tex-Mex Farfisa fanatic Augie Meyer), were able to deliver an excellent record that expands upon Gene’s classic sound while simultaneously creating a melting pot of numerous roots-rock styles; with touches of Cajun, Tex-Mex, Swamp Rock, Soul, R&B, Country, and Folk, Gene Vincent is an excellent example of some fine Cosmic American Music to be sure!

The first track, a cover of Mickey Newbury’s “Sunshine”, is quite possibly the finest version of the song that’s been laid to wax. Setting the blueprint for the sound of the record–70s bootcut boogie with a serious Texarkana twist–the tune opens with acoustic guitar and a funky bass line topped off with some tasty Tex-Mex tinged organ riffing courtesy of Augie Meyer. When Gene sings “Sunshine, you may find my window/But you won’t find me…Sunshine, as far as I’m concerned don’t be concerned with me,” his lazy laid-back delivery truly embodies the voice of the character in the song–a man who’s tired of struggling to keep out the darkness and has resigned himself to a life of depression and isolation. Almost entirely gone is the rollicking rockabilly style of his younger years, in its place is a laid back yet emotionally expressive vocal style.

Next up is “I Need Woman’s Love”, which sounds similar to a handful of tracks off Doug Sahm’s excellent 70s solo records. Augie’s presence once again goes a long way in terms of adding legit Tex-Mex flavor and the tune will likely be a favorite of Sahm fanatics craving more funky borderland jams. Slow Times Comin’ is a stoney swamp rock jam in the vein of CCR’s “Keep on Chooglin” and “Graveyard Train” that clocks in at just over nine minutes. “Danse Colida,” a traditional Creole folk tune, brings yet another slightly unexpected twist to the album with its spicy Cajun fiddle licks. “Geese,” which also appeared on the B-side of the “Sunshine” single, is a folky tune about the free wheelin’ lives of, you guessed it, geese. While not exactly a throwaway tune, it lacks momentum and substance compared with some of the other tunes on the release.

Gene’s take on the Bobby Bare tune “500 Miles” that kicks off Side B is absolutely irresistible with its swampy late-night Texarkana soul vibe. Fleshed out with funky wah-wah guitar, Garth inspired organ grinding, underwater leslie background guitar textures, and a bold fuzzed-out guitar line in the bridge, this is definitely one of the standout tracks on the lp–absolutely perfect for those wasted days and wasted nights! “Listen To The Music,” Gene’s plea for world peace through song, is a bouncy pop tune with a forever relevant message delivered in a fashion completely true to the time. “If Only You Could See Me Today” is a swampy country rocker written by Augie Meyer that recalls some of the more rocking tunes on Dale Hawkins’ L.A, Memphis, & Tyler, Texas, and “A Million Shades of Blue,”written by Gene along with the help of his wife Jackie Frisco, is a lovely pop/country tune that would’ve made an excellent single had Kama Sutra decided to release another one after “Sunshine”. The bluesy “Tush Hog” closes the lp with nearly 8 minutes of sultry southern swamp jammin’.

Unjustly dismissed upon its initial release, mostly ignored by long-time fans and deemed a failed attempt at a comeback by much of the rock press of the era, it’s high time that Gene and his gang receive the credit they deserve for what is not only an excellent time capsule of funky early 70s roots-rock sounds, but actually a really great album with an interesting and varied sound that could’ve and should’ve taken Gene’s career in a new direction had years of  hard livin’ not taken him away from us too soon. While not extremely pricey, original vinyl copies of Gene Vincent can be a tad tricky to come by. However, Rev-Ola has issued a cd compilation entitled A Million Shades of Blue that consists of Gene Vincent as well as the Kama Sutra follow up Day the World Turned Blue. Don’t miss out on this forgotten 70s classic!

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“Sunshine”

:D Compilation | 2008 | Revola | buy ]
:) Original | 1970 | Kama Sutra | search ]