Archive for the ‘ RnB ’ Category

Jim Ford “Harlan County”

Harlan County

In the liner notes to recent cd reissue Sounds of Our Time Nick Lowe describes Jim Ford: “Jim Ford’s reputation was not the best. He told a lot of terrible stories and he used to bend the truth a bit. I think deep down he was no rock star, but he noticed people provided him with money when he pretended to be one. Many people who financed his career probably got disappointed when Ford didn’t care to live up to their expectations. He took a lot of people for a ride….I’d never seen anyone use cocaine before I met Ford. Wherever he went there were also illegal substances around. Ford was unreliable and from time to time he disappeared. We were surprised to find what kind of people he seemed to know in England. One time when he got back he had stayed with the blonde bombshell Diana Dors and her gangster-type husband Alan Lake!”

Nick also added this, “When Jim walked off the plane he wore a big Stetson, rose-tinted shades and jeans with creases and round-toe cowboy boots. I’d never met anyone like him before. Ford was the real thing, he was other-worldly and very charismatic. He turned up with a $3,000 guitar, an astronomical sum for 1970, but it seemed he could barely play it, and yet it was so mean, the way he hit that thing. He was totally unimpressed by us (Brinsley Schwarz), but he was making the best out of a bad job.”

Jim Ford meant a lot of things to a lot of different people. Sly Stone claimed Ford was his best friend, Nick Lowe name checks him as a major inspiration, and British mod band the Koobas recorded an entire album of Harlan County songs (The Koobas even went as far as to change their name to Harlan County). His unique brand of country-rock-soul-funk has proven to be original and very influential.

The Harlan County LP was released by White Whale in 1969 and is evenly divided between covers and Jim Ford originals. Most people single out the title track and “I’m Gonna Make Her Love Me” as highlights, and they are great slices of hard country funk. “Harlan County,” the title track, has a nice horn arrangement, crisp, driving acoustic guitars, female backup vocalists and a great beat – it’s another lost gem. But for me Ford’s fuzz guitar arrangement of “Spoonful” is really stellar and the superb country soul ballads “Changing Colors” and “Love On My Brain” make the album what it is today – a unique record in the country-rock canon. Ford’s main strength was his songwriting ability but he’s also an underrated vocalist with real southern grit and soul. There is nothing like Harlan County, the LP is mandatory listening for fans of 60s American rock n roll and country-rock.

You wanna hear his music? The best reissue to get a hold of is Sounds of Our Time by Bear Family Records (2007). This disc has the Harlan County LP in its entirety, rare pre-lp singles, and excellent outtakes that are in more of a country-rock vein. For an example of this, check out the slow version of “Big Mouth USA” and the title track. Both tracks are outstanding pieces of Americana that sound very similar to the Band’s best songs on Music From Big Pink.

“Spoonful”

:D CD Reissue | 2007 | Bear Family | buy from bear | amazon ]
:) Original Vinyl | 1969 | White Whale | search ebay ]

Moby Grape “The Place And The Time”

The Place And The Time

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 ]
:D CD | 2009 | Sundazed | buy from sundazed | amazon ]

Fred Neil “Fred Neil”

Fred Neil

From the clatter of the Greenwich Village 60s folk scene came a voice that was inspired, authentic, and extraordinarily deep. Freddy Neil had one of those unmistakable voices, a baritone that could rumble your brain and leave cracks in your spine. Add to that the skills of one of the better blues-folk songwriters; his songs were covered by Karen Dalton, Harry Nilsson, Jefferson Airplane… anybody who knew their stuff.

Released in 1967, Fred Neil is moody, soft, and dark, but shimmers in beautiful electric sound. It lives within the pinnacle of styles from which Freddy would draw his influence: Brill Building chops, cold hard blues, good old folk song, and raga spiritualism. The ten original compositions heard here are masterpiece quality pens. “Everybody’s Talkin'” would put the voice of Nilsson forever in popular knowledge thanks to Midnight Cowboy; Fred refused to sing for the movie and his unornamented version is a refreshing listen. Neil harbored a genuine love for dolphins, championing their causes throughout his life, and recording his dreamy ode to open the record. I harbor a specific love for the bluesy standard, “That’s The Bag I’m In” and songs like “Faretheewell (Fred’s Tune)” are too precious for my description.

Neil was a father figure to many integral players in the folk, blues, and rock movements, cited as an influence by folks like David Crosby and Bob Dylan. Go grab this essential LP if it isn’t already in your collection.

“The Dolphins”

:) Original Vinyl | 1966 | Capitol | search ebay ]
:D CD Reissue |  200 6 | Water | amazon ]

Reg King (self-titled)

Reg King

Reg King belonged to the Action, Mighty Baby, Blossom Toes,  B.B. Blunder family tree, leaving the Action before they became Mighty Baby and performing with (ex-Blossom Toes) B.B. Blunder after releasing this acclaimed and rare solo record.

Members from the bands above would form the backbone for this project, recorded over three years and guesting Stevie Winwood on keys. The Action had cut their teeth covering Motown soul during the mid 60s and those influences had not gone amiss for this LP, albeit through distorted guitars and stoney jams. The leadoff track “Must Be Something Else Around” is a blistering slice of hard English rock that probably gave Led Zep a brief jolt of anxiety. “That Ain’t Living” has the explosive impatience of certain tracks I know from The Action, but add this album’s key ingredient: raw and relentless blue-eyed soul, propelled by Reg King’s voice – probably the best of the British hard-rock-soul singers.

It’s not a grand slam on the other hand. I’m not much of a blues-hound, so “Down The Drain,” or six-minutes of predictable blues doesn’t do it for me. But “That Ain’t Living” pushes hard through a fully worthwhile six of spirited rock. There are a couple less memorable tracks, but the good hooks make this record worth a spin. Perhaps a good introduction to the Action family tree .

“Must Be Something Else Around”

:D CD reissue | 2007 | Circle Records | Reg King ]
:) Original Issue | mega rare | search ebay ]
8-) Spotify link | listen ]

uReview: Steely Dan “Can’t Buy A Thrill”

Can't Buy A Thrill

[ratings]

The perfect musical antiheroes for the Seventies. –Rolling Stone

“Think of the Dan as the first post-boogie band: the beat swings more than it blasts or blisters, the chord changes defy our primitive subconscious expectations, and the lyrics underline their own difficulty…” –Robert Christgau

“Steely Dan gargles my balls.” – Seth Rogen’s character in “Knocked Up

Q: What’s your take on Steely Dan’s 1972 debut?

8-) Spotify link | listen ]

Read the rest of this entry »

Lonnie Mack “The Hills of Indiana”

Hills of Indiana

Probably due to the success of The Band, starting in 1970 a slew of rockabilly and rhythm and blues artists diverged from the sound that gave them a name in the 60s and released at least one kick ass roots rock album. File Hills of Indiana on the same shelf.

Lonnie Mack’s 1971 outing may not slay listeners the first time around like Bobby Charles or Link Wray, though it reels in that familiar mix of blues, soul, & country rock. Indiana finds Lonnie trading his guitar slinger/blues-instrumental persona for gentler roots rock with touches of gospel and even straight bluegrass – Uncle Pen is a faithful rendition of the Bill Monroe number. He shows good taste with versions of Bob Dylan’s Man In Me, Carole King’s A Fine Way To Go, and Mickey Newbury’s She Even Woke Up To Say Goodbye. There are five originals (cowrote with Don Nix) with some fine cuts in Motown-inspired trucker ode Asphalt Outlaw Hero, the low-key and orchestrally ornamented Florida, and album closers All Good Things Will Come To Pass and Three Angels.

The album’s production is a touch on the clean side, edging near schmaltzy, and closer to Dale Hawkin’s pro-studio approach than Wray’s chicken shack. This kills only a little appeal for this near classic record, still worth a spot in any Americana collection.

“Florida”

:) Original Vinyl | 1971 | Elektra | search ebay ]
;) MP3 Album | download @ amazon ]
8-) Spotify link | listen ]

The Kinks “Kinda Kinks”

Kinda Kinks

This is the first Kinks album where I love every song. When you really fall for a band, their formative material starts to gain new ground as you listen closer; you can hear the bedrock for the more developed music that would come. While the “Kinks” debut, which is loaded with cover versions, doesn’t really do it for me, “Kinda Kinks” flat out kicks.

The punchy fill opening up Look For Me Baby (just listen to this song!!) kicks off an understated but growingly catchy Kinks klassic. As stripped down and simple as these early numbers are, they retain a sort of modest perfection. Ray Davies would add brilliant turnarounds, prechoruses, and bridges to string his multi-part compositions together in later works, but the simplified structures herein support the raw Kinks sound and energy present on each track (making even Dancing In The Street worth the ride).

Nothin’ In The World Can Stop Me Worryin’ Bout That Girl has become an important gem for the Kinks, overlooked by many until Wes Anderson’s Rushmore popularized the track, as well as the Kinks, to a new generation. The liner notes to the Rushmore soundtrack suggest that the filmmakers considered scoring the entire film with Kinks tracks, which would have been fantastic (though the soundtrack as is would have been dearly missed).  So Long is a similarly acoustic wistful track (see Podcast 9) with that mellow side stick rhythm.

The guitar sounds on Kinda sincerely thrills me: a clangy, tinny, rambunctious mess, perfectly executed. Dave Davies was on top of his game. Come On Now, Shouldn’t Be Sad, Got My Feet On The Ground are smokers. Something Better Beginning is another well received ballad, one of the tracks reviewers will cherry pick from this underrated album. It’s not a mind blower, but it’s a dam dependable slab of good solid music, benefiting from the developing skills of one of Britain’s most celebrated groups.

Maybe you’ll agree with critical reviews out there that the Kinks weren’t making “cohesive” albums yet, but one great track after another the whole record through is cohesive enough for me.  The 2004 CD reissue of Kinda comes highly recommended, includes 11 excellent bonus cuts with many of the tunes available on Kinks-Size and Kinkdom, and restores the original UK track lineup. Unfortunately, you’ll only find one track from Kinda Kinks (Come On Now) on the newly released Picture Book box set.

“Look For Me Baby”

:D CD Reissue | 2004 | Sanctuary | amazon ]
:) Original Vinyl | 1965 | Pye | search ebay ]

The Kinks “Kinks-Size” & “Kinkdom”

Kinks Size & Kinkdom

So much is made about the Kinks’ “Golden Age” from the years 1967-1972. Don’t get me wrong, I’m guilty of loving these records all day and night, but when the Kinksdust settles, you find that the years 1964-1966 were an especially powerful Kinkstime too. The newly released Picture Book box set only does a cursory job of representing this material.

“Kinks-Size” and “Kinkdom” were not official album releases, but like the Great Lost Album they were American label releases containing excellent material and superior track line-ups.

Kinks-Size was released in March of 1965 by Reprise in order to capitalize on the big albumless hits, Tired of Waiting For You and All Day And All Of The Night. Louie Louie, I Gotta Go Now, Things Are Getting Better, and I’ve Got That Feeling came from the British EP “Kinksize Session” (clearly an inspiration for this album’s title), while I’m A Lover Not A Fighter and I Gotta Move were originally on the All Day EP. I’m A Lover and Revenge were shelved cuts from the “Kinks” debut. Come On Now was a track from their upcoming 2nd official album “Kinda Kinks.”

Kinkdom was released in November of 1965, three months after Kinda Kinks. This release comprised tracks from the British EP “Kwyet Kinks” (A Well Respected Man, Such A Shame, Wait Till The Summer Comes Along, Don’t You Fret) as well as some of the best unreleased (in the US) British singles (Never Met A Girl Like You Before, See My Friends, Who’ll Be The Next In Line, It’s Alright). Naggin’ Woman was an unreleased cut from the UK edition of “Kinda Kinks,” and Louie Louie is repeated from “Kinks-Size,” an inexplicable move by Reprise.

These albums best represent the scorching sound of the early Kinks, appropriately ravaged by Shel Talmy’s untrained production style with songwriting strong enough to bolster the genius of Ray Davies. Don’t waste your money on incomplete box sets. Nothing the Kinks recorded should be considered extraneous.

Kinks-Size

“I’ve Got That Feeling”

Kinkdom

“Wait Till The Summer Comes Along”

:) Orig Vinyl | Kinks-Size | 1965 | Reprise | ebay search ]
:) Orig Vinyl | Kinkdom | 1965 | Reprise | ebay search ]

Randy Newman “12 Songs”

12 Songs

Randy has a voice that works for any audience. I think his varied and rather awesome body of works helps prove this: ex 1. ex 2. ex 3. I hate to bring it up again (does every record I listen to have Clarence White on it?) but gaddang I love the original Old Kentucky Home with many renewed thanks to cw (I’ve always been more familiar with the BB version).

Mama told me not to come. Rabbit Rabbit. Happy new year!

“Lucinda”

:) Original Vinyl | 1970 | Reprise | search ebay ]
;) MP3 Album | download at amazon ]

Delaney & Bonnie & Friends “Motel Shot”

Maybe the first “Unplugged” album, Motel Shot presents Delaney & Bonnie & Friends live in the studio performing traditional numbers in the styles of gospel, country, and folk, in addition to four Delaney penned tunes (the hit of which was “Never Ending Song Of Love”). Luckily for us, Delaney & Bonnie’s “friends” include Gram Parsons, John Hartford, Leon Russell (long overdue in these pages), Joe Cocker, Clarence White, Dave Mason, and Duane Allman. If this crew had got together in 1971 to record nonsense it would still be worth listening to, but they pour it out instead, dishing soulful performances with rousing gusto.

Motel Shot was recorded in the spirit of a late-night motel jam session, after the show – back to the basics. On top of the traditional numbers are standards from the likes of AP Carter, Bob Wills (“Faded Love” is a standout slow tempo killer) Chuck Willis, and Robert Johnson. The performances invite listeners to become a part of the music with a communal feel. Grab another tambourine or just bob your head. “Come On In My Kitchen” is featured for its remarkable sparsity in such a solid groove.

For more from this type of crew, take a look at Joe Cocker’s Mad Dogs & Englishmen DVD, with excellent tour footage and backstage jam sessions offering a glimpse into the spontaneous traditional music paid homage by this record.

“Come On In My Kitchen”

:D CD Reissue | 1997 | Atco | buy from amazon ]
:) Original Vinyl | 1971 | Atco | search ebay ]