Posts Tagged ‘ 1970 ’

Louie And The Lovers “Rise”

| Country Rock,Pop

Rise

A lost and found story. Louie and the Lovers from Salinas, California put out this one record, discovered and produced by the legendary Doug Sahm during his exile from Texas; it barely sold. But Rise was such a strong album, a startling blend of the San Francisco sound, Chicano music, and Tex-Mex country rock, it became an easy target for collectors. Rarer, however, was the fabled follow-up album, lost in a fire save for one cassette and unreleased until Bear Family’s recent offering, Louie and the Lovers, The Complete Recordings.

For a bunch of teenagers recording their first album in one 18-hour session, Rise is a surprisingly solid set of tunes, with a sound as fresh as any of their west coast contemporaries, consistently fine song craft (9 of 11 tracks penned by Louie Ortega), and fantastic vocal performances throughout. You can hear the Lovers’ innocent enthusiasm chiming through electric rhythm guitars and the band’s raw energy is infectious. The Lovers were admittedly influenced by CCR, an unavoidable comparison, but Louie also name checks Webb Pierce, Lefty Frizzell, and Jorge Negrete as early influences on his songwriting.

Rise starts with a bang, the eponymous lead-off track taking off with guitar hook assaults and soaring vocal harmonies. The album’s slower numbers are some of the record’s best: “I’ve Always Got You On My Mind” is a serious earworm and “Driver Go Slow” is a sparse and haunting murder ballad. Upbeat rockers like “Royal Oakie” and “I Know You Know” should have been radio hits, at least in Texas. The album is a powerful grower, its melodies sinking in deep after a few listens, but unfortunately Rise was destined for obscurity.

Regardless of the lack of sales, The Lovers were given another shot at recording an album, this time featuring production from Doug Sahm, Jerry Wexler, and Tom Dowd, along with help from new guitarist John Rendon, steel guitarist Charlie Owens, horn player David ‘Fathead’ Newman, Dr. John on keys, percussionist Joe Lala, and Flaco Jimenez on Conjunto accordion. The selections were more diverse, from Mexican traditionals to sunshine pop and Memphis-powered blues jams (probably Sahm’s ever present musical schizophrenia peeking through). Perhaps the magic from the original sessions had faded, but these tracks are a pleasure to finally hear, with some certain gems in the mix, included in a fine package with excellent liners.

For fans of Tex-Mex and the Sir Douglas Quintet this release is a long-awaited treasure; no doubt essential. Louie would join Sahm’s backing band in the 80s and even perform with the Texas Tornados, most recently appearing with SDQ2 at the fundraiser concert for Doug Sahm Hill in Austin, TX. Hopefully this won’t be the last we hear from Louie Ortega, one of the great voices of Tejano music.

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“I Know You Know”

:D CD Reissue | 2003 | Acadia | amazon ]

:) Original Vinyl | 1970| Epic | ebay ]

Los Brincos “Mvndo Demonio Carne”

| Pop,Prog,Psych

This band hailed from Spain and started releasing singles and albums in the mid 60′s beat era. Some of their songs are sung in English but for the most part Los Brinco’s vocals and lyrics are Spanish. Some fans prefer the Contrabando pop album but I personally think Mvndo Demonio Carne (World Devil Body) is their best and one of the great, unsung Spanish progressive psychedelic albums.

Carne found the band experimenting with a different sound and is one of the earliest Spanish albums of its kind. Many good experimental albums came out of Spain throughout the early to late 70′s, in the wake of this great record. Brincos made it possible for these artists to experiment with different forms of pop/rock music and be taken seriously . The album’s lead off title track is an engulfing psychedelic opus that goes through all different kinds of movements before its 12 and a half minutes has ended (with English lyrics/vocals). It’s an excellent piece of music and probably Los Brincos’s greatest achievement.

There are a trio of superb Spanish folk songs in Hermano Ismael, Carmen and Esa Mujer. The later two are notable for beautiful mellotron and string passages while Hermano Ismael is so wonderfully unpretentious and simple that it almost sounds out of place on the lp. Other winners are the funky progressive rock of Emancipacion and Jenny, La Genio (Jenny, Miss Genuis), a neat slice of Beatles inflicted power pop.

Mvndo Demonio Carne has been released on cd many times but the 2001 BMG disc is highly recommended. This disc has the original album along with alternate tracks sung in English and rare singles.

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“Jenny Miss Genius”

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There are three versions of this album and all are terrific. The BMG release is the Spanish lp with a bunch of bonus tracks, some of which are on the other two releases. The English version of World Devil and Body has a different cover and trades Butterfly, Kama-Sutra, Jenny, Miss Genuis, Carmen, Hermano Ismael, and Vive La Realidad for 4 different tracks – Promises & Dreams, If I Were You, Misery and Pain, and Body Money Love/Cheap, Cheap, Cheap. All four tracks are excellent, particularly the beatlesque power pop of Body Money Love and the hard charging raga rocker, If I Were You. Once again, this album is certainly mandatory listening for fans of psychedelia and progressive pop.

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“Body Money Love”

:D CD Reissue | 2001 | BMG Spain | Search Amazon ]
:) Original Vinyl | 1970 | Search ebay ]

Som Imaginario (self-titled)

| Tropicália

Som Imaginario

This was Som Imaginario’s (Imaginary Sound) debut album from 1970. A Brazilian band that often backed the great Milton Nascimento just as Os Mutantes had backed Gilberto Gil and Caetano Veloso on their early albums. In fact, this album could be seen as the perfect companion piece to Os Mutantes’ 1969 masterpiece, A Divina Comedia Ou Ando Meio Desligado.

The band’s name is very fitting, Som Imaginario is an invigorating blend of folk, soul, psychedelia, brit influenced pop, rock and Brazilian homeland music. For a debut album, the band sounds extremely confident and wild, steaming and cooking thru the album (and there are no duff tracks either!!).

Morse opens the album on a funky note, with blasts of fuzz guitar and swirling organ. The next song, Super-God has some great use of wah-wah and distorted vocals. Milton Nascimento guests on the mysterious Pantera, which is another highlight with a bomb explosion intro. Nascimento’s voice is highly original and experimental and adds depth to an already good composition. The two songs in English, Poison and Make Believe Waltz, are also very good, soulful folky ballads.

An essential psychedelic album and a must for fans of Tropicalia. Som Imaginario released a few albums during the progressive rock era which are also highly recommended but reissues are criminally unavailable.

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“Sabado”

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Black Sabbath “Black Sabbath”

| Prog,Psych,Punk

Black Sabbath

“In the beginning, there was nothing. And then Black Sabbath said “LET THERE BE METAL!” (had to quote this guy). But considering, before this self-titled destroyer was unleashed, the closest things we call metal are a handful of Yardbirds and Zeppelin tracks and Iron Butterfly, Sabbath really did spawn a whole new genre, in Satan’s name.

Just imagine as a kid in 1970, heavy into tracks with overdrive guitars, you put this on the record player, we hear burning leaves, a distant church bell, a rising storm, the ungodly slow crunch from the band kicks in with scary timing, a whole new sound. We’ve just spun Black Sabbath by Black Sabbath from Black Sabbath. Sick.

The album is rooted in hard rock and the blues still, of course. The Wizard is a smokin’ workout with a harmonica lead and Ozzy’s characteristic vocals. N.I.B. is easily another defining track for early metal. There are some more period piece numbers too, such as Evil Woman. It’s still got the heavy detuned power chords and shredding, but there is a bluesy beat to it with a poppy chorus. They take it down almost all the way to folk on the intro to Sleeping Village, before their instrumental assault extending into the 10-minute Warning.

Black Sabbath would go on to release a solid string of excellent records (their first four the best), including the tour-de-force, Paranoid. I chose to review this one today because it has the scariest cover. Happy Halloween!

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“Black Sabbath”

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The American Dream (self-titled)

| Classic Rock,Pop

Todd Rundgren produced this lost Philadelphia band’s only album back in 1970 off the Ampex record label. The American Dream’s album blends power pop, lite psychedelia, blazing hard rockers, folk-rock and roots music effectively throughout its 12 songs (almost 50 minutes of good music!).

Key influences are not a surprise, as listeners may hear strands of Crosby Stills Nash and Young, the Nazz, and the Beatles. The playing is full of youthful energy and the band manages to balance out hard rockers with attractive folk-rock power ballads. Raspberries has a slight psychedelic hangover, as it begins with a phased drum intro and showcases some wigged out guitar playing. Other quality songs like the Other Side, Storm (full of great Beatles-like melodies), I Ain’t Searchin’ and I Am You are predominately acoustic, tastefully arranged and have some great hook laden CSNY harmonies. Good News, a song that begins with a telephone conversation, eventually segues into some pretty country-rock harmonies. It’s a typical relationship hard rocker in which the band humorously shouts out “don’t be a jerkoff” at the end of the chorus. The third track of the original lp is the real highlight of this very solid collection. Big Brother has classic late 60′s psych lyrics (“listen to the words he is saying, conjuring the games he is playing”) and intense early Who power chords (it really sounds like an excellent Nazz outtake) that make it a real killer and a treat for fans of British rock.

The American Dream stood out from the local crowd with their strong, exciting songwriting and 3 guitar lineup. From this point, my knowledge of the American Dream ends. Can anyone provide further info on this great lost American band? Were there prior or post American Dream bands and did they release any singles or albums?

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“Big Brother”

:) Original Vinyl | 1970 | Ampex | search ebay ]
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The Pretty Things “Parachute”

| Classic Rock,Pop,Psych,RnB

Parachute

In our world, the Pretty Things are as big as the Pink Floyd, and Parachute is our Dark Side of the Moon. And while this analogy works in terms of production values and signature albums, Parachute really owes more to The Beatles and Abbey Road.

The Pretties’ early material is strong and bluesy. They were pioneers in the style that influenced the Rolling Stones in the 60s. In 1968 they recorded the seminal rock opera S.F. Sorrow, known to have influenced Pete Townshend in recording Tommy. Parachute followed two years later and, unlike most albums reviewed here, was a critical success, receiving the Best Album of 1970 accolade from Rolling Stone magazine. It’s an amazing leap from Sorrow as well. While I love S.F. Sorrow for the gutsy and no-holds-barred psych bomb that it is, I must confess that I believe Parachute to be the better album for its intricate production, dynamics, and developed songwriting.

The opener tears it up with massive drum sola and intimidating rhythm section. Abruptly, we are swept into a soothing number that rallies into the next, The Good Mr. Square into She Was Tall, She Was High. And though we may not have a concept record here, the flow of Parachute continues as such, a dramatic experience, seamlessly passing from heart-pounding rock anthems to smartly arranged acoustic-based gems.

If you are a fan of rock music, this is a completely essential album. Bonus tracks are excellent quality.

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“Grass”

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The Move “Shazam”

| Classic Rock,Pop,Prog,Psych

Shazam

The Move are more of a household name in the UK, unlike in the US where most folks have never even heard of the Move or Roy Wood. Shazam is a prog rock/power pop tour de force that skyrockets to 11 from the opening lick and teeters at (and nearly over) the top throughout; you can hear a theatricality in Shazam that would hint at the band The Move would become, ELO.

This record comes off as a blueprint for heavy metal, glam rock, hair rock and all its derivatives (I can picture Jack Black singing these tunes), and as it was released in 1970, it most likely was used as such, though the album is definably progressive rock. The magic is in the album’s transitory sound: it’s probably one of the heaviest albums that still retains the glimmer and style of the 60s.

Hello Susie busts it open like a Yes climax, right off the bat, and lead vocalist Carl Wayne sets the tone with his gnarly shout. Beautiful Daughter is probably my favorite track from this set, with it’s clever phrasing and chamber orchestra. Cherry Blossom Clinic Revisited is the real eye opener, it always catches my attention when this album plays. If you can’t make it past the first few minutes (this album is NOT for everyone) just wait until the middle where there’s an excellent prog reworking of Bach’s Jesu Joy of Man’s Desiring and other classical melodies (can’t quite peg them, anybody know?). The 2nd side of the album consists of three cover songs, with The Last Thing On My Mind sounding surprisingly byrdsian.

Shazam was considered a snapshot of the eccentric Move’s live act. You can allow yourself to judge this one by the cover.

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“Cherry Blossom Clinic Revisited”

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Shiva’s Headband “Take Me To The Mountains”

| Psych

Take Me To The Mountains

Shiva’s Headband was the first rock/country rock group to establish the Austin, Texas music scene. They were also the first Austin Texas group to be signed to a major record label. The above album, Take Me To The Mountains came out in 1970, off the RCA label.

The cover art is very surreal and striking, only hinting at the sounds from within. Take Me To The Mountains is a wild and woolly mixture of psychedelia, country, blues, hippierock, folk, tex-mex and rock. Similar in style to the Sir Douglas Quintet, although Spencer Perskin’s fiddle dominates rather than Auggie Meyer’s classic organ sound. Vocals are mainly sung by Spencer Perskin with his wife Suzy taking the occasional lead, as heard wonderfully on the blues rock stomper Homesick Armadillo Blues.

The playing on this record is tight, care-free and fun, few records from the 1960′s – early 1970′s are so laid back and joyous. Ripple is a good example of this approach, highlighted by some great, icey blues guitar playing. Some of the country-rock numbers are real classics too. Take a listen to Take Me To The Mountains and My Baby for that real, reckless space cowboy feel. The psychedelic high point is without a doubt Song For Peace. Spencer’s fiddle and Suzy’s organ dominate this hypnotic, drifting psych masterwork. This song was released as a single in the late 60′s albeit in a trippier, even more psychedelic version.

There are no weak tracks on this record which really carves out it’s own sound. The production of Take Me To The Mountains works really well too, in a bare bones minimalist way. It’s important to note that Spencer Perskin is one of Austin’s most popular musicians having established Armadillo Headquarters. In 1971 Shiva released a private press album titled Coming To A Head. This is also a great record with more of a country western sound.

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“My Baby”

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Great Speckled Bird (self-titled)

| Country Rock,Folk

Great Speckled Bird

The Great Speckled Bird was lead by Ian and Sylvia Tyson. The above album was recorded and released in 1970. The record company pulled the album from store shelves within months, making this album rare and thus sought after. It’s not uncommon for a copy of the Great Speckled Bird to exchange hands for hundreds of dollars, if not more!

The album itself was a great mixture of early country-rock and folk. At the time it was a bold move for the Tysons to break free from their folk straight jackets. The Great Speckled Bird was supposed to signal the beginning of something new for this famous folk-rock duo. The band was very tight from live gigging, containing some good musicians such as the Remains’ N.D. Smart. Amos Garrett (lead guitar) and Buddy Cage (steel guitar) play with an added venom, incorporating different tones and textures to their guitar playing that work just brilliantly.

The concept of the Great Speckled Bird was to change the direction of folk as well as add electricity and rock n roll power to contemporary country music. The songs speak for themselves, just listen to the power in Ian Tyson’s Calgary. Both he and Sylvia are in great voice, adding a compelling and courageous element to this landmark album. Some of the songs such as Love What You’re Doing Child have that funky rural vibe while others (Rio Grande) recall their folk past. Flies in the Bottle is a beautiful country song and one cannot help but think how this album predates the Gram Parsons and Emmylou Harris collaborations. At times this album rocks hard too, as heard on Bloodshot Beholder.

Definitely worth your time, the Great Speckled Bird is the best album this duo has ever released.

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“Calgary”

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Wizards from Kansas (self-titled)

| Psych

Wizards from Kansas

This group is primarily known for their devastating version of High Flying Bird. This song is on their only album from 1970 which bears the strong influence of Jefferson Airplane’s masterpiece Volunteers (which is also from 1970).

The Wizards from Kansas started off in the late 60′s playing festivals alongside other, more well known bands. They have a disc of late 60′s outtakes and alternate versions that are trippier and more psych oriented than the above album. It took me a while to get into this album, but I now consider it one of the best San Francisco style acid guitar LPs. As mentioned before, High Flying Bird is radically reworked into a psychedelic tour de force, full of hard distorted guitar and great Airplane-like vocals. The Wizards also do a powerful cover of Codine, which is slow, progressive and tripped out. The originals also hold up, mixing country, psychedelia, folk and rock into a heady brew. Hey Mister and Country Dawn are standout rural rockers, the latter is really one hell of a tune with a classic intro. Mass is a great psychedelic rocker with acid leads that twist inside and out recalling Jerry Garcia’s guitar style.

Anyone into the Grateful Dead, Jefferson Airplane, the Youngbloods or H.P, Lovecraft will really appreciate this great, unknown record. By the way, these guys were from Kansas.

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“High Flying Bird”

:D CD Reissue | Phoenix | Limited Edition | order from FE ]

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