THE RISING STORM

An unlikely classic if you judge by the sleeve, “Christian of the World” is a sweet slab of gospel rock from the one and only Tommy James. Tommy James and the Shondells are an obsession-worthy group, with a slew of memorable hits to their name. I beg you to listen closer next time “Hanky Panky” comes up on oldies radio – it’s one of the nastier garage beats I’ve heard, though it still hit number one, such a killer track. A string of succeeding uptempo hits marred the group with a “bubblegum” label that Tommy hated, urging him to infuse psychedelic sounds into classics like “Crimson and Clover.” His first two solo records continue seamlessly in the marvelous vintage sound of the Shondells.

Apart from Tommy’s brilliant vocals, it’s the production that draws me in on these records. “Adrienne,” the bass is right in your face, with clacky guitars and percussion beefing up the background. This was recorded in 1971 but still has the magic ‘oldies’ sound. Uplifting rhythm and blues grooves like “Sing, Sing, Sing” and “Church Street Soul Revival” will appeal on the first listen. The classic driving Shondells beat that made “I Think We’re Alone Now” a hit takes hold on “Sail A Happy Ship.”  But “Dragging The Line” would become Tommy’s biggest solo hit, for obvious reasons.

I’m not bothered by the religious bent. God is one of the main reasons for song. It’s devotion, sorrow, fear, faith, and madness all wrapped up in one topic. Tommy James is the master craftsman of pop. I’m off on a Shondells bender.

“Adrienne”

2fer | autographed by Tommy James | @tommyjames.com ]

Has classic rock radio made a bad name for itself because the music doesn’t wear well with age, or is it because they keep playing the same old shit? In a perfect world, classic rock gems like Jericho would no longer be neglected by the airwaves and listeners would abound in new sounds from a previous era. Just imagine your local classic rock station slipped in one cut off this record, in place of the usual barrage of Zep and Skynyrd repeats; there could easily be a demand for this sweet sounding, authentic-as-it-gets, yet unissued and unplayed recording.

Jericho members Frank DiFelice, Denny Gerrard, Fred Keeler, Gordon Fleming hailed from Canada and recorded this one-off at the famous Bearsville studio in Woodstock, with engineering and production by Todd Rundgren. These guys were a part of the same scene as Jesse Winchester and The Band, sharing Rundgren as producer and art director Bob Cato between this and Stage Fright, and the music falls right in line, albeit with a harder edge.

They bust down the door with “True Fine Girl,” sounding like the Band on steroids with overdriven organ and screeching guitars notching a next-level sound. “SS #4″ even sounds a little like hard rock “Cripple Creek,” but the key here isn’t loud guitar rippin but a loose knit down-home groove. There are nasty prog moves and killer Clavinet shredding on “Cheater Man;” Gordon Fleming really steals the show on keys, often overshadowing the guitar leads (a rare feat for keyboardists). “Baby’s Gone Again” is a blues that shuffles harder than Cream and “Backtrack” is a killer Edgar Winter style instrumental with gnarly parts played thru Garth Hudson’s own Leslie speaker and Clav. I’m a sucker for “Goin’ To The Country,” a goofy, stoned country groover with wowy Moog bass replacing the “jug” line. The vocalist shines on this little number (vocals are really great all the way through, actually) that definitely stands out from the rest.

One track, “Make It Better,” would score a minor hit, but Jericho would be largely forgotten, unissued since its original release. I do find that this record tends to push a little too hard; it’s kind of relentlessly hard-rockin. But it deserved much more than it got.

“Backtrack”

Original Vinyl | 1971 | Bearsville / Ampex | search ebay ]

From 1971 Japan comes this gleaming gem of classic rock, encompassing a myriad of American styles from rural rock and country to raw garage, blues, experimental, and blazing west coast rock – but contrary to prevailing trends of the time, the lyrics are not sung in English. If this poses a problem for your ears it is a great shame, for Kazemachi Roman (Wind City Romance) is a must-listen record, and #1 on Rolling Stone’s list of the 100 Greatest Japanese Rock Albums.

Kazemachi Roman owes its sound to many influences, but the band maintains an unmistakable originality while flawlessly running the gamut of American popular music. “Haikara Hakuchi” drives with Moby Grape ferocity, “Haru Ranman” combines byrdsian folk with a roaming west coast feel, while “Sorairo no Crayon” dabbles with country & western, complete with pedal steel and a yodeled outro.  ”Natsu Nandesu” and “Kaze wo Atsumete” have a soulful, bucolic charm, the latter finally getting its due via 2003’s Lost In Translation soundtrack. “Dakishimetai” sounds like a classic 70s rock anthem and “Hanaichimonme” grooves like a freight train, prodded along by rolling guitar licks and piano driving. “Ashita Tenki ni Naare” is a funky rhythm and blues featuring an awesome Beegees multi-falsetto vocal part. And then there’s “Taifuu” (typhoon), the clear alpha dog of the set. On this authorative rocker the singer lets it all out with gnarly, gutteral yelps and grunts.

Even the slightest investment in this record should prove the attraction goes way beyond novelty.  The sound is instantly recognizable feel-good rock and easily transcends the language barrier. Had these gentlemen hailed from California and sang in English, Happy End would have been a household name.

The lead man, Haroumi Hosono, would later form the sensational Yellow Magic Orchestra (titans of the pre-midi synth age) and continues to make music with his electronica duo, Sketch_Show.

“花いちもんめ (Hanaichimonme)”

CD Reissue | search ebay ]

Pieces is the perfect name for this new Manassas outtakes collection from Rhino.  Nobody had combined country, rock, salsa, blues, and bluegrass like Stephen Stills’ powerhouse 7-piece that formed out from the wake of CSNY and the Burrito Brothers, and their eponymous album was a disconnected smattering of “pieces” itself. This new hodgepodge of unheard treats may be scattered, but it’s right in line with tradition and kicks ass like any Manassas fan would expect.

Pieces collects some leftovers from the Miami sessions that led to the first album (“Witching Hour” “Like A Fox”), warmups and ideas intended for the 2nd Manassas album, Down The Road (“Lies” “Love and Satisfy”), as well as what Stills refers to as “Chris Hillman and Byron Berline teaching me bluegrass” (“Panhandle Rag” “Uncle Pen”). Other tracks are electrified covers from Stephen Stills 1 & 2, the hugely successful solo albums that gave Stephen the freedom to form a band with Doug Sahm level schizophrenia.

There are a number of gems here; “Witching Hour” and “Sugar Babe” are easy classics. Stills throws together the chorus of “Like a Fox” last minute and presages  Manfred Mann’s “Fox On The Run” (which the Country Gentlemen would turn into a bluegrass standard) word for word. Only problem, even with Bonnie Raitt lending her voice, I can’t hear past the Manfred version to this one. On Side B, the bluegrass numbers have no knockout picking, but it’s a treat to hear Stills and Hillman harmonize on “Uncle Pen.” “Do You Remember The Americans,” however, is cooler grass than I’ve ever heard. I wish Stills had recorded an entire album in this vein. ”I Am My Brother” is a sick solo blues to prove Stills’ immense talent and soul.

This is a no-brainer for Stills, CSNY, Byrds, Burrito, or rock music fans.

“Do You Remember the Americans?”

CD Compilation | 2009 | Rhino | buy at amazon ]

Bridge Over Troubled Water (Capital, 1971) wasn’t Buck’s first foray into rock n roll music.  In 1957 he cut a handful of rockabilly sides under the name Corky Jones – and good sides they are!  Buck had once vowed to “sing no song that is not a country song” but in 1965 he released a great charging version of Chuck Berry’s “Memphis” on the classic I’ve Got A Tiger By The Tail lp.  Some fans felt that he had broken his pledge by covering “Memphis” but Buck didn’t see it that way: “I see Memphis as being rockabilly.  Listen to the lyrics….If they’re not country lyrics….the melody – if that ain’t a country melody….” I’ve Got A Tiger By The Tail along with 61’s Sings Harlan Howard and 66’s The Carnegie Hall Concert are usually what fans cite as his best ever lps.  These recordings went a long way in establishing the Bakersfield Sound and making Buck Owens a household name.

Bridge Over Troubled Water is not on par with the above classics.   It’s a good record though with some interesting experiments that see the Buckaroos trading in their beloved Telecasters for an acoustic folk-rock sound – though country music is still their foundation.  The album is roughly divided between covers of current rock standards and Owens originals.  The production is beautiful, the guitar work is stellar, Buck is in great voice and the harmonies are nothing short of amazing.  There’s the occasional organ or Moog but for the most part the arrangements are sparse and the playing is less aggressive when compared to earlier records.  My only complaint is the weak cover of Simon & Garfunkel’s “I Am A Rock” and the album’s short running time, which hovers around the 25 minute mark.  Renditions of the title track, “Love Minus Zero,” “Homeward Bound,” and “Catch The Wind” are suprisingly good.  “Catch The Wind,” with its droning Moog and angelic vocals is so good it may even surpass the Donovan original.    Buck’s own material blends nicely with the above mentioned tracks, making this a strong listen all the way thru.  All the original material is good, though “Within My Loving Arms,” “The Devil Made Me Do That,” “San Francisco Town,” and “Everything Reminds Me You’re Gone” stick out for their contemplative approach, brittle acoustic guitars, and gorgeous harmonies.  Throughout the album Buck’s vocals are world weary, it’s a quality that makes this record special.

Buck would take some heat from the C&W squares for revamping his style and covering current rock n roll songs.  But the C&W crowd would prove to be wrong over time as Bridge Over Troubled Water reeks class and Bakersfield sophistication.  It was this willingness to experiment that made Buck and his group so great and pioneering.  This open-minded approach has made the Buckaroos music age so well whereas many of their contemporaries sound dated and hokey.  In 2004 Sundazed released this solid album on cd, it’s certainly well worth a spin for fans of country-rock.

“Within My Loving Arms”

CD Reissue | 2004 | Sundazed | buy from sundazed | amazon ]
Original Vinyl | 1971 | Capitol | search ebay ]

This is probably Lou Christie’s greatest artistic statement to date.  Paint America Love was an ambitious statement by Christie, a total departure from the Four Seasons influenced bubblegum pop he had been releasing throughout the 60s.  His best known songs from the mid 60s were the hits “Lightning Strikes” and “Rhapsody in the Rain.”   Christie was a truly great, underrated artist though and it’s worth noting that he would reinvent his career from bubblegum to sophisticated pop to country, always with great success artistically and commercially. 

Paint America Love was released in 1971 on Buddah.  All the songs were written by Christie and they are a complex, sprawling mixture of pop and Americana.  The arrangements are adventurous and lush as heard on the gorgeous instrumental Campus Rest.  This was no doubt Lou Christie’s Pet Sounds though in musical style, it’s much closer to Sunflower or Surf’s Up.  Christie’s vocals are still wonderful (he has a magical falsetto) and a definite highpoint on this lp.   One can hear shades of his 60s work in the country-rocker Chuckie Wagon – there’s some interesting fiddle and a great chorus on this one.  Some of these tracks take on ecological themes like the pop friendly “Paper Song” while others are a bit more complex like “Lighthouse,” “Paint America Love” and “Wood Child.”  Many consider these tracks the best of Lou Christie’s career although after this lp he would release a good country lp which is also recommended (Beyond The Blue Horizon from 1973). 

But there are other pleasures to behold on Paint America Love,  like the astonishing Beach Boys inspired “Waco” and the achingly tuneful “The Best Way To See America.”  Every track is inspired, the lyrics are personal and the songcraft is very strong.  Paint America Love was one of the best off-the-radar releases from 1971 – it’s as good as early 70s pop gets.  The album finally saw a cd release by Re-Ola in 2008.

“The Best Way To See America”

CD Reissue | 2008 | Revola | buy at revola | amazon ]
Original Vinyl | 1971 | Buddah | search ebay ]

Randy Bachman had abruptly quit the Guess Who in the midst of a winning streak.  After two classic albums, Canned Wheat and American Woman, and a host of excellent pop/hard rock singles he decided to get up and leave.  Rock critics panned Bachman’s decision to leave this very successful pop group and more often than not, wrote off this fine debut album from Brave Belt.  Brave Belt was a conscious attempt to create something a bit more experimental and less hard rock oriented.  It was the first time Randy Bachman (lead guitar and bass) and Chad Allen (vocals, rhythm guitar, mandolin) had gotten together on record since 1966’s classic It’s Time album.  Allan was a great vocalist and one of rock’s truly underrated talents.  The remaining members of Brave Belt were Bob Bachman on drums and Ron Holldorson on pedal steel guitar.

The first lp was recorded in Winnipeg and released off RCA in 1971.  Gone was the hard rock stylings of American Woman or the breezy jazz-pop of Undun.  Instead the group offered up a brilliant mix of quiet country-rock and psychedelia.   Both of these worlds collided on the excellent album opener “Crazy Arms, Crazy Eyes.”  This track rocks pretty hard with its Bo Diddley-like beat, attractive pedal steel work and phased drums – one couldn’t ask for a better debut opener.  Personal numbers such as “It’s Over” and “French Kiss” were written by a revived Bachman/Allan partnership.  These tracks along with the more country oriented material recalled the early work of Neil Young or Poco’s reflective numbers on their great debut lp.  ”Wandering Fantasy Girl” and “Scarecrow” are a bit more psychedelic in nature with lots of Bachman fuzztone and a nice, druggy studio production.  Another track, “I Am The Man,” is an intoxicating, complex masterpiece with psychedelic guitar work reminiscent of late 60s George Harrison and even some creative mandolin flourishes that give the song an exotic flavor.  The album is great all the way thru though Guess Who fans may be disappointed if they come here looking for a hard rock blowout.

Brave Belt would record one more solid album in 1972 before giving way to Bachman-Turner Overdrive.  Randy Bachman once summarized his experience with Brave Belt: “Too much garbage had been laid down about me that Brave Belt never really had a chance.  Radio stations wouldn’t play us, magazines wouldn’t do stories on us. ”  Rock journalist Larry LeBlanc also added, “Randy got a real shellacking from the music press when he left the Guess Who.”  Many rock fans refer to Brave Belt’s music as Randy Bachman’s bridge from the Guess Who to Bachman-Turner Overdrive.  It’s much more than that though, as this album is arguably more consistent then either of those groups’ best work.  Brave Belt is more experimental and has definitely earned it’s “lost classic” status over time.  Both albums have been reissued in the past though 2009’s Wounded Bird twofer is the easiest way to obtain these recordings.  Highly Recommended.

“French Kiss”

The Guess Who featuring Randy Bachman and Chad Allan (1965):
mp3: I’d Rather Be Alone

CD Reissue | 2009 | Wounded Bird | 2fer | amazon ]
Original Vinyl | 1971 | Reprise | ebay ]

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”

CD reissue | 2007 | Circle Records | Reg King ]
Original Issue | mega rare | search ebay ]

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 ]

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 their farts it would still be worth listening to, but they pour it on instead, dishing out soulful performances with a rousing feel. 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”

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

After releasing a scorching debut, Mighty Baby drastically switched format and recorded this Dead/Airplane-influenced rural LP. Both are great records, but hardly by the same band.

The self-titled lead off track would get your attention first, it got mine enough to include it on the very first Rising Storm Podcast. This track, and the album overall, is loaded with vicious string bender guitar licks from either Alan King or Martin Stone (can anybody confirm?). Whether it’s a bender or not, Clarence White fans should take note for the onslaught of high-register fancy guitar pickin contained herein.   My only complaint is the length of songs, tending to jam on a bit, however to those looking to soak in these type of sounds this is a dream. Besides, with a touch of class and some minor theatrics they manage to give noodling a good name.

Influences range from The Band on the grooving “Tasting The Life,” CSNY on mellow “Virgin Spring,” and Untitled Byrds all over. “Virgin Springs” is a song so familar it sounds like a cover, I just can’t find any evidence of an original version. In this case, along with “Slipstreams,” the album is responsible for at least two bonafide rural classics.

Jug of Love is what happens to a band after their rock break out leads them to Sufism and a jaded view of the music industry; always makes for an interesting sound! Check out Jason’s post on their s/t debut to compare this to the “sleek, powerful piece of psychedelia” that is Egyptian Tomb (updated link). 

“Keep On Jugging”

CD Reissue | 2006 | Sunbeam | A Jug of Love ]
Original Vinyl | 1971 | Blue Horizon | search ebay ]