Eagles may have earned themselves a reputation for taking late 1960s country rock and turning it into slick, corporate drivel, but that doesn’t change the fact that the band’s early members have some solid histories in underground rock and roll. Just check Bernie Leadon’s much-lauded work with The Flying Burrito Brothers, Dillard & Clark, and Hearts and Flowers (and that’s one horribly abbreviated list) for a glimpse. One of the least explored Eagles histories, however, is that of bass player Randy Meisner. Not only did Meisner work high-profile stints with Poco and the Stone Canyon Band, but he also served time in a number of far-lesser-known mid-sixties garage bands, such as The Poor, The Esquires, and The Soul Survivors, all of whose recordings have been assembled by Sound City Music on 2003′s rather forgotten Help the Poor.

If the Eagles references have you frightened, fear not: Help the Poor is solid psychedelic garage rock, about as far removed from Meisner’s later band’s output as you can get. From the chiming folk-rock of “Hung Up On Losing” to the crashing psychedelia of Tom Shipley’s “She’s Got the Time, She’s Got the Changes,” this is a platter full of strong songwriting, sharp harmonies, and adventurous arrangements. These guys knew what they were doing, taking cues from west-coast combos like The Byrds and The Association and adding a hefty dose of sonic bite. If there’s any complaint to be made here it’s that this anthology is rather top-heavy: the first half-dozen cuts are absolutely phenomenal could-have-been-hit-singles, while the remainder (with the exception of the aforementioned “She’s Got the Changes,” which is actually one of my favorite pieces here) tend to be a little less memorable.

As is always the case with a comprehensive anthology spanning two or three different bands, you are bound to get some musical anomalies. The choogling surf-rock of “The Prophet” (the only cut we get from Meisner’s short-lived Esquires) is Help the Poor‘s case-in-point, featuring a booming introduction and awkwardly overdubbed applause which mar an otherwise righteous Morricone flavored instrumental. The album as a whole remains an exciting listen, however, and like all successful compilations leaves the attuned listener hungry for more. Too bad this fifteen-track collection looks to be all we get – another should-have-been from an era brimming with great sounds.

mp3: Come Back Baby
mp3: She’s Got the Time, She’s Got the Changes

Collection | 2000 | Sound City Music | buy here ]

Gotta Survive is an essential reissue from Jack White’s Third Man Records label. If Public Nuisance is remembered today at all it’s due to their appearance on many of the day’s psychedelic ballroom posters.  This group never released a single or LP in their lifetime but recorded two albums worth of material that sat on the shelf for over 30 years. Frantic Records first released a fine double disc anthology of Public Nuisance’s material which was followed up by this vinyl only reissue in 2012.

The bulk of Gotta Survive was recorded in 1967-1968. A precursor group called Moss & the Rocks released a mediocre garage folk-rock 45 in 1966 but the music on this record is much more experimental and exciting – garage psych with detours into folk-rock, hard rock and sunshine pop. Listening to Gotta Survive makes me think of a band caught between the primitive garage rock era (the Seeds, Music Machine, etc.) and the heavier, hard rock sounds that emerged in 1968 (think Blue Cheer or the underrated Yesterday’s Children). Public Nuisance also had a knack for catchy melodies and pop hooks as heard on the atmospheric “Sabor Thing.”  They were a versatile group whose songs have inventive arrangements and pop friendly melodies.

Tracks like the churning “Thoughts,” “Strawberry Man,” and “Magical Music Box” show the group wasn’t afraid to take a chance in the studio.  ”Magical Music Box,” a punchy rocker with Who/Move-like energy (without sounding like either of these groups) and fuzz propelled guitar work is a particular standout.  ”Small Faces,” a track Jack White has often covered live, is the album’s true classic – a powerful guitar heavy monster that has to rank as one of the best songs in the garage psych bag.  ”Ecstasy”, another gem, is the group at their most psychedelic and complex, featuring flutes, harpsichord and morose vocals.

Had Gotta Survive been released in 1968 it would have ranked as one of the better psych albums of it’s day.  Hopefully Third Man Records will offer up the group’s remaining material on a second vinyl installment.  Public Nuisance may have been one of the era’s best kept secrets (hard luck acts) but it’s good to know that people still appreciate this music 45 years on.

mp3: Magical Music Box
mp3: Holy Man

Reissue | 2012 | Third Man Records | buy from third man ]

The Paupers don’t really need any introduction in these pages. Their debut record, Magic People, has already been discussed in an earlier review, and whatever biographical information Jason did not cover there can be found in this beautifully comprehensive history of the band over at Garage Hangover. Their 1968 swan song Ellis Island is such a unique piece of late-sixties psychedelia, however, that I think it more than deserves its own moment in the sun here on the Storm.

The opening cut here was my personal introduction to this band and it’d be hard to ask for a better first impression. “South Down Road” is a semi-orchestrated epic that rests somewhere between the West Coast rock of Quicksilver Messenger Service and early progressive rock. The dramatic arrangement, featuring buzz-saw guitar and sweeping strings, keeps this one from dissolving into monotony during any of its eight and a half minutes. The music here sounds like the hippest 1960s film soundtrack that never was. It’s a risky move to open your album with as ambitious a recording as this, but The Paupers not only make it work, but manage to draw the excitement established by this opening cut through the rest of the album without surrendering a shred of energy.

The majority of the songs on Ellis Island are in step with the sounds laid down on “Road,” featuring a good dose of fuzz-tone guitar and swelling organs. As is often the case, however, those songs which stray furthest from this pattern are some of the most interesting. The weird, affected piano ballad “Ask Her Again” is more than a little reminiscent of Van Dyke Parks’ straighter moments on Song Cycle, while “Another Man’s Hair On My Razor” is an early, tongue-in-cheek stab at country-rock. Few 1960s bands ever succeeded at doing atmospheric balladry like the Paupers do on “Oh, That She Might,” which somehow manages to incorporate delicate strings and a jazzy, night club saxophone without collapsing into affectation or period schmaltz. Perhaps the closest thing to a bum note here is the closing piece, which is in a somewhat earlier rock and roll vein and features a rather uninspired boogie-woogie piano arrangement.

Ellis Island was reissued on compact disc by Lion Records,and though it has since gone out of print, a used copy is not hard to find. In fact, original vinyl copies are surprisingly common, making this one of those rare obscurities that is both as solid as its reputation and accessible to those folks who don’t want to shell out a leg and an arm for a listen.

mp3: South Down Road
mp3: Ask Her Again

Original | 1968 | Verve | search ebay ]
Reissue | 2007 | Lion | buy here ]