Archive for the ‘ RnB ’ Category

Quicksilver Messenger Service “Comin’ Thru”

| Folk,Psych,RnB

A band known for their formation during the sixties with helping the onset of the psychedelic scene, Quicksilver Messenger Service’s seventh album (first with keyboard player Chuck Steaks), Comin’ Thru is brain child of guitarists Dino Valente and Gary Duncan. Although the band’s most notable albums such as their self-titled album (1968-) and Happy Trails (1969) show progressive notions of San Francisco’s psychedelic scene, Comin’ Thru shows more of the band’s musical influences of blues, jazz and folk. This album doesn’t follow a typical Quicksilver song montage of jamming then losing your mind for an allotted amount of time, but don’t get me wrong, it holds true to the psychedelic rock ideas of say the Dead or Jefferson Airplane.

The album’s front runner, Doing Time in the U.S.A., a song chronicling different themes regarding the law being broken has an almost Dicky Betts southern rock feel to it. Doing Time in the U.S.A. has somewhat of an ode to the Rolling Stones when Dino Valente recites in his most Jagger-esque voice, ¦I can’t get no, satisfaction; this being ironic seeing as how the band’s former organist, Nicky Hopkins, was doing work with the Rolling Stones at the time. Whether or not this is an actual response to the Stones classic is unknown, but in a genre where underlying song connections run wild, one can only imagine. Quicksilver’s jazz influences are recognizable within moments of the first horn solos found on Chicken. Sonny Lewis (saxophone) and Pat O’hara lay down a dueling solo of lows and highs that make this soulful jam extremely tight. As always twang blues guitar riffs are found throughout, most present on Mojo and Changes. Mojo, a song about what else than a man’s swagger/libido, has that psychedelic song formation found in their earlier albums. Ending the song via a line-up of solo’s starting from guitar to trumpet to bass then on to keyboard the band obtains a type of jam feeling usually only found in live performances. Stressing the difference between this album and their popular titles is the production of keyboard player Chuck Steaks. His approach to keyboard is much more up tempo and wild compared to a more classically trained Mark Naftalin. The albums organ solo’s reflect this greatly with a Bernie Worell style to them, most recognizable on Doing Time in the U.S.A and Don’t Lose It.

Many regard Comin’ Thru as a lesser work of Quicksilver Messenger Service since the band would fall apart near the end of the decade and many of the original members were not part of the album’s production (John Cippollina, David Friedberg & Jim Murray). An album that holds two sides of the love/hate spectrum: Some feel the horn work is used to compensate for a less talented band, then others feel it was innovative thinking (the band looking for a new sound). Some feel as though the use of a less classically trained pianist was by default (due to the band is disarray), while others feel it adds an element unknown style (coming from the school of thought that, the less classically trained you are, the more unique your style is). Let’s not hang signs, just listen.

“Doin’ Time In The USA”

:D CD Reissue | 2002 | Beat Goes On | buy from amazon ]
:) Original Vinyl | 1973 | Capitol | search ebay ]

Jesse Winchester “Third Down, 110 To Go”

| Americana,RnB

With its more striking cover and impressive personnel (produced in Bearsville by Robbie Robertson with Levon Helm on drums and mando), Jesse Winchester’s self-titled debut is the go-to pick for newcomers to Jesse’s music. While I still consider it an absolutely essential disc for the strong songwriting, Robertson’s production is somewhat coarse and the record lacks a certain magic. Luckily, Jesse knew better how to present his tunes, and two years later delivered this special gem, co-produced with Todd Rundgren.

With delicate and soulful production, mostly adding only the scarcest accompaniment, Jesse Winchester offered an album with 12 fine songs short and sweet. Side one of the record is largely acoustic, barely spicing it up with tasteful electric guitar leads on the grooving opener and even what sounds to be synthesized clarinet on the instrumental Lullably For The First Born. But the lack of a full band is apt, especially combined with harmony lines withheld for all but the right moments. Side two features some trademark Rundgren production: listen to the elements of Midnight Bus build into a gnarly little rythmn section, worthy of the Stage Fright era Band’s finest.

A gift sent from the north. Jesse lived in Canada while recording this album having dodged the Vietnam draft, leaving his home state of Mississippi in the late 60s (one of my favorite Jerry Jeff Walker performances, Mississippi, You’re On My Mind was penned by Winchester). You might think he’d have a political message, but it’s more like sweet nothings. Sometimes bordering on cutesy, it’ll be ok to let this album hit your soft spot. Just know it’s likely to hit the right spot, whatever that is.

“Midnight Bus”

:D CD Reissue | 2006 | Wounded Bird Records | buy from amazon ]
:) Original Vinyl | 1972 | Bearsville | search ebay ]
;) MP3 Album | download at amazon ]

Bodine “Bodine”

| Americana,Country Rock,Pop,RnB

Bodine

Maybe not one of the top ten albums we’ve reviewed, but Bodine is as solid as it gets, loaded with tunes as good as anything played on classic rock radio today. You would think that stations would be interested in expanding their content with picks from the vast piles of unknown classics (Bodine included), but it’s still the same old hits, recycled day after day, some 40 years later. In any case, this little lost gem, produced by Bill Cowsill, is a strong promise from a band that would disappear after just one release.

The sound is influenced by country rock, with rural acoustic guitar driving back seat to funk bass lines and stabbing double tracked guitars. But the song structures have Ray Davies-ian 3-part movements and a strong Beatles influence, especially on the bouncy Statues Of Clay. Apart from this review, I think the vocal harmonies are cool, the backups strangely adding “eee’s” to the excellent Easy To See and trading vocal leads easily standing next to groups like Blood Sweat and Tears. It’s nice to find a record with a lotta soul made by some kids with seriously blue eyes.

I find it amazing a band so unknown could have such powerfully memorable songs, though not everything has aged wonderfully. Take It Back satisfies but teeters near television theme schmaltz. But the boys do manage to approach Jim Ford’s country funk on clear winners like Keep Lookin’ Through Your Window. If you give it a chance, you’ll find there really are no throwaways on Bodine’s only album.

This has never seen a CD release, who knows what it could sound like after a proper remaster. The record is relatively easy to find and affordable (mine was $4). Long due for a new release and reappraisal.

“Short Time Woman”

:) Original Vinyl | 1969 | MGM | search ebay ]
Not to be confused with the Dutch heavy metal band

The Crazy World of Arthur Brown

| Pop,Prog,Psych,RnB

The Crazy World of Arthur Brown

The Crazy World of Arthur Brown issued just one album in 1968 off Polydor. But that one album holds up as one of rock’s great one shot wonders. Prior to releasing this lp Brown had been singing in a number of semi pro bands throughout the early 60’s while studying in France. It was during this period that Brown developed his strange stage persona and eccentric nature.

In 1967 The Crazy World of Arthur Brown released the Track single Devil’s Grip backed by Give Him A Flower. This disc is a good slice of soul drenched psychedelia that was notable for Brown’s operatic vocals and heavy organ interplay. In 1968 Brown and the group released Fire, a huge top ten hit over in England and here in the US. When Fire hit the airwaves nothing sounded quite like it. Brown’s vocals were demonic, the song’s lyrics were threatening and like the album above, it had a slight r n b feel.

The group’s only album is one of the masterpieces of late 60’s British rock, a confident, flamboyant debut that has few equals. The album opened with Prelude – Nightmare, a powerful piece of early progressive rock with crazed vocals, thundering drums and soulful organ via Vincent Crane – a true classic. The two covers, I Put A Spell On You and I’ve Got Money are suprisingly fine examples of British R&B. Spontaneous Apple Creation is possibly the album’s most psychedelic cut with lots of sound effects and nonsensical lyrics but a good piece of music regardless. The band flirts with basic pop on the catchy Rest Cure but for many Child of My Kingdom was the group’s finest moment on lp. This track is a superb piece of British R&B with hints of psychedelia and just plain lostness.

After this debut Brown recorded Strangelands, music that was recorded in the late 60’s but would not see an official release till the late 80’s. These recordings are strange to say the least and dispense of conventional song structure in favor for something more challenging and demented. In the early 70’s Brown would form Kingdom Come, a skilled group of musicians who would release 3 worthwhile records that are more progressive in nature than the Crazy World of Arthur Brown recordings. There have been numerous reissues of the Crazy World of Arthur Brown, the best being a standard Polydor repress and the pricey Japanese import in excellent sound quality. For anyone who likes their music on the edge, this album is a must.

“Child Of My Kingdom”

:D CD Reissue | 1991 | Polydor | google shop ]
:) Vinyl Reissue | 2007 | Tapestry | ebay ]

The Blues Project “Projections”

| Classic Rock,Folk,Pop,Psych,RnB

The Blues Project were one of the hottest live acts of the time and one of the first album oriented bands. Not all blues, with certain tunes rooted in folk and this album bearing a psychedelic edge (nearly the American “Aftermath”) but listen to them cook through some classic blues standards and soulful originals, and the name starts to settle in just fine.

This Greenwich Village group lit up audiences weekly at New York’s Au Go Go Cafe. Before they cut their first record, the smokin’ hot Live At The Cafe Au Go Go, they were joined by session player Al Kooper who was looking to gig and improve his chops on the Farfisa organ. By the time Projections was released, they had become a hard-edged party band that were well-equipped to extend their jams for a drugged out San Fransisco scene, and their eagerness to incorporate other musical forms and experiment beyond the blues put this band ahead of their time.

Al’s “Kooperphone” (actually called a Tubon) on Can’t Keep From Crying supplies an opening dose of out-of-control psych. A completely unexpected classical suite introduces Steve’s Song, a folksy groover with light touches of fuzz. And it’s hard to not become a classic ’66 record with a track like the hard slow blues, Two Trains Running, running 11 minutes 30 seconds. Another toss-for-a-loop is a Jazz-lounge number featuring Andy Kulberg on the uncleverly named Flute Thing. Cheryl’s Going Home is a riff-based standout, but when they perform bluesy shuffles like Wake Me Shake Me and Caress Me Baby you know they’ve hit their stride. The blues numbers give the album its vintage appeal.

Though they could smoke an audience, they were unable to score a hit song. However, one of the last tracks they cut before Al Kooper left the band may be one of the best unknown singles of the year: No Time Like The Right Time.

The Polydor/Chronicles anthology has the Projections album on disc two, with scores of live material and outtakes from the first album on disc one and detailed liners.

“I Can’t Keep From Crying, Sometimes”

:D CD Reissue | 2011 | Sundazed | buy from sundazed ]
:) LP Reissue | 2011 | Sundazed | buy from sundazed ]
:) Original Vinyl | 1966 | Verve | search ebay ]

Mu “Mu”

| Pop,Prog,Psych,RnB

Recognize those licks? Fans of Antenna Jimmy (Jeff Cotton’s) unmistakable slide guitar work will hear it off the bat. And this may be the record to clue the skills behind the Magic Band to those who ever thought Captain Beefheart’s troupe were overrated hacks. But Mu is really a Merrell Fankhauser project, the man behind a string of awesome albums including Fapardokly and HMS Bounty’s Things.

The band happened across a copy of James Churchward’s The Lost Continent of Mu, a book about the mythical “Hawaiian Atlantis.” This provided the band name and a set of ideals (the bands’ matching those of the lost civilization) for inspiration. The fascination grew to a point that the group moved to Maui to try and find the lost city themselves.

The sound of Mu is a wholly unique mix of psychedelic rock and rhythm and blues. The interlocking rhythms and primal pulse of the Captain’s music shows its influence, but Mu is a more radio-friendly affair, think the Magic Band Lite. The tunes are largely instrumental and mildly progressive suites, with just enough structure and restraint to entice more conventional listeners. Mu benefits from this, the rare even blend of experimental with consonant songcraft. Cotton turns in some excellent slide, but also bass clarinet, and contributes a good deal of the songwriting. The rhythms are undeniably good, the songs sound better and better, and the drum break on the 9 minute Eternal Thirst (the longest track by a while) nudges the album into the realm of the hypnotic.

After an unissued follow up record recorded in Maui (included on the Sundazed 2CD set). Jeff Cotton, along with Randy Wimmer, left Mu in 1975 to study the Christian Ministry. Merrell grew increasingly fascinated with the lost continent of Mu, recording more albums based on the Mu theme and continuing to play music in the Hawaiian islands. The record they created in 1971 is remarkably fresh, out-there, and absolutely one-of-a-kind. Recommended.

“Ain’t No Blues”

:D CD Reissue | Sundazed | buy from sundazed ]
:) Original Vinyl | Lemurian | search ebay ]

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The Rascals “Once Upon A Dream”

| Concept Albums,Pop,Psych,RnB,Sunshine

Once Upon A Dream

After releasing three classic garage blue-eyed soul records, the Rascals felt a need to expand their sound, become a bit more ornate, and take in the influence of psychedelia. In early 1968 they released Once Upon A Dream, a vague concept lp inspired by recent albums Pet Sounds and Sgt. Pepper’s. The concept is a bit unclear to me but I believe each track is supposed to represent a different dream. The group’s vocal arrangements were some of their most ambitious to date and where the previous three albums had been excellent collections of album tracks and singles, Once Upon A Dream hangs together quite well as an album – a finished product if you will.

Once Upon A Dream opens up with a fairly well known track, Easy Rollin’. Easy Rollin’ is one of the mini classics on this album and stands out from previous Rascal outings in that it’s more roots influenced with edgy acoustic guitars, harmonica, and B-3. The production on this song is remarkable: one can hear birds chirping in the background and the band itself seems to have more space and breathing room. Other tracks like the dreamy Silly Girl and zany Rainy Day are psychedelic pop songs that have strings and horns in the mix. These sweet, confectionery treats give way to harder edged psych rockers Please Love Me and It’s Wonderful. Please Love Me harks back to the band’s mid 60s garage soul period but has wonderful flute and swirling fuzz guitar effects. Other great songs are the soul-blues of Singin’ The Blues Too Long which has a clear Ray Charles influence, and the great, overlooked blue-eyed soul classic, My World. My World is notable for including female backup singers as well as the Rascals’ own excellent vocal arrangement.

The Rascals would release other good albums after Once Upon A Dream but few pop records from the time are as instantly memorable and sophisticated as this. At the time, the album’s production and sound were considered a triumph. This is a true classic and should be part of any serious rock n roll collection. There are a few cd reissues of Once Upon A Dream currently available while the original Atlantic lp is fairly easy to find.

“My World”

:D CD Reissue | 2007 | Collector’s Choice | buy from amazon ]
:) Original Vinyl | 1968 | Atlantic | search ebay ]

Terry Reid (self-titled)

| Classic Rock,Pop,RnB

It’s amazing how such a perfect stroke of rock n-roll can hide in the shadows. Terry Reid’s albums are an instantly likable mix of blues, rock, and blue-eyed soul. Excellent juke box fodder, you could drop a quarter on a random song from his catalog and feel confident in any bar around. Maybe classic rock radio would give the boy a spin if he hadn’t turned down that lead-singer gig for Led Zeppelin.

I guess it’s lucky for us that Terry recommended Robert Plant for the job (he was busy opening for the Stones). Needless to say, the kid can belt. One of the great unsung voices of rock, in fact. The leadoff track on this record is an aptly titled Donovan cover, Superlungs My Supergirl. Most of the rest are fine originals, shining on the toned down folk numbers, May Fly case in point.

Another case of classic management problems, Terry would remain under the radar, unhelped by Mickie Most’s contractual obligations. Reid’s music gathered some renewed interest thanks to Rob Zombie, particularly via his ultra-horrifying film, The Devil’s Rejects, soundtracked with a bunch of classic Terry Reid joints. I can firmly agree you won’t be disappointed with any Terry Reid purchase ventured, even the confusing mix of his early albums on Astralwerks, Superlungs.

“Superlungs My Supergirl”

I’m posting Terry’s 2nd, self-titled album above for its lovely 1969 grit, but his other albums, notably River and Seed of Memory, are every bit as essential. They take a more manicured 1970s approach, adding bass groovers and horns, with Seed of Memory approaching superfunk on side two, but damn if they won’t get ya. Here’s two from a personal favorite, River:

“Dean”

:D CD Reissue / Download | 2005 | Astralwerks | buy from amazon ]
:) Original Vinyl | 1969 | Epic | search ebay ]

Funkadelic “Free Your Mind… And Your Ass Will Follow”

| Psych,RnB

Free Your Mind and Your Ass Will Follow

It really doesn’t get any better than this, Funkadelic’s 1970 sophomore release off the Westbound label. Formed in 1968, Funkadelic was one of two bands on two different record labels fronted by George Clinton (the other group being Parliament, of course).

Some years back George Clinton had this to say about his two pioneering funk groups, “Parliament was more orchestrated with horns and complicated vocal arrangements while Funkadelic was more a straight up rock band with a heavy rhythm section.” He also added, what we knew from Motown and what we’d seen with Sly, and everybody else¦ We were able to take that and make a real classy jazz funk and then be as silly as we were. The early Funkadelic sound was more rock oriented with lots of insane guitar soloing and creative keyboard work coming from both Eddie Hazel and Bernie Worrell. George Clinton produced and provided vocals on this fine psychedelic masterwork which many feel is Funkadelic’s most “out there” recording. There are all kinds of zany production tricks at work here from the stereo panning on I Wanna Know If It’s Good For You to super phased vocals that smear Some More. Some More may be the album’s most conventional cut though it’s still a great experimental soul number with lots of reefer madness and a nice bluesy arrangement.

Clinton’s lyrics are pretty sharp and humorous throughout the album and there is no doubt that Hazel’s guitar playing was heavily influenced by Jimi Hendrix. For example, songs like I Wanna Know If It’s Good For You and Friday Night, August 14th have tons of feedback and wah-wah that recall late period Hendrix, specifically the Band of Gypsies. Hazel was surely one of the great guitarists of his generation and one can also hear a little Curtis Mayfield in his playing. But Funkadelic were first and foremost orginal artists and legend has it that George Clinton and the group engulfed an enormous amount of drugs during the album’s recording sessions. Other fine tracks like Funky Dollar Bill represent the group’s funky, good time side, a sound they would develop with great success on future releases.

Funkadelic were one of the great Detroit groups and nothing in the rock n roll or soul cannon resembles their early catalog. The song arrangements and performances on this lp are much looser and less pop oriented than other psychedelic soul masterpieces like Psychedelic Shack by the Temptations or Sly Stone’s Stand! Easy to find on cd or vinyl, this is truly an inspirational recording and one of the greatest psychedelic releases ever.

mp3: Friday Night, August 14th

:D CD Reissue | 2005 | Westbound | buy from amazon ]
:) Original Vinyl | 1970 | Westbound | search ebay ]

Willis Alan Ramsey (self-titled)

| Americana,Country Rock,RnB

A one of a kind record from a talent so deep it kills you to learn… this is all there is. Straight out of Austin, Texas this may be the best of the whole Armadillo/outlaw scene, though Willis never wanted a part of it in the first place. Country fans and foes alike should grab this record and hold on tight.

Willis Alan Ramsey’s record  merges country and soul as much as it combines chicken shack production with a touch of studio glitter. Put out by Leon Russell on his Shelter label (Russell also contributes keyboard), Ramsey was only twenty when he wrote many of these tunes, and only 22 or so when he laid down the vocals. Pretty remarkable considering the sound. It’s an ecclectic mix of styles with songwriter tunes ranging from the sweet and waltzy to bluesy, gritty grooves. “Muskrat Candlelight,” the album’s most sugary spot, would be covered by America and forever confined to the Lite 97s as “Muskrat Love.” But other tracks tear it up. All originals except for “Angel Eyes,” which fits like a glove on Side 2, every song is a serious keeper.

A few tracks are ornamented with strings and orchestral accompianment, which works for the more developed numbers, but the sound gets so nicely stripped at times. On two tracks, “Satin Sheets” one of them, the only percussion is a steady kick drum with a thick cardboard sound. “Ballad of Spider John,” the hypnotic storytale opener, also achieves this effect; the simplicity delights me to no end.Then this little green bit of heaven closes with a cut no one could argue, a swampy and irresistible groove: “Northeast Texas Women.”

Willis Alan Ramsey made one of those perfect albums. Unfortunately for us, he was seriously jaded by the music business, and never put out another record.

“Northeast Texas Women”

:D CD Reissue | 1999 | Koch | buy from amazon ]
:) Original Vinyl | 1972 | Shelter | search ebay ]