Posts Tagged ‘ 1971 ’

Karen Dalton “In My Own Time”

| Americana,Folk,Pop,RnB

In My Own Time

The first time you hear her voice. Listen to track 1 on this record (see below) and you’ll know what I mean. Karen’s got “whoa” factor that few singers can pull off and has been lauded by the likes of Bobby Dylan, Freddy Neil, the Holy Modal Rounders, and must have inspired Joanna Newsom. Yeh, the first time you hear that voice, it can transfix you.

We tend to favor garage rock and country rock records with a high ratio of original material, and tribute numbers seem to rarely ever surpass originals, but this sophomore LP comprised solely of cover songs will dash any preconceptions. Karen didn’t write songs, she interpreted really good ones. Her voice is described elsewhere in a million similar words and comparisons (“to describe it would take a poet” -Fred Neil), but all I’ll say about it, she’s got soul. It’s almost like how Miles used to say it’s not the notes you play, it’s the notes you don’t; Karen phrases in a way that pwns every tune.

Songs by Dino Valenti, Richard Manuel, Paul Butterfield mix with traditionals and pop classics recorded at legendary Bearsville Studios, featuring a couple players from the Bobby Charles sessions. The sound is akin to that of The Band on some takes, but riding solely on a clawhammer banjo on others. It’s something special though to close your eyes with this record and let her take you.Hard to get all the way through to Are You Leaving For The Country without feeling something; this one’s a mover.

The CD digipak 2006 reissue, with excellent liners, is the best way to go, containing an additional disc of alternate takes that are truly different versions, proving the strength of the material and versatility of the band. No idea what’s up with the backwards cut of Are You Leaving… but it sure would explain why people sometimes refer to this music as psychedelic folk. Her only other album, 1969′s It’s So Hard To Tell Who’s Going To Love You The Best will be essential for fans, but the above record is essential for everybody.

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“Something On Your Mind”

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Bob Lind “Since There Were Circles”

| Americana,Country Rock,Folk

Since There Were Circles

This is a really interesting release, and a perfect example of how important it is to support well-designed reissues. I can’t figure out why Richie Unterberger trashes the album, causing me to believe it may have been a hit-and-run by one of my favorite reviewers; 2 stars (allmusic) is off the mark for this fine, fine record.

City Scenes makes a perfect album opener. Introducing the modest, effective orchestra of driving acoustic guitar, piano accents, electric slide guitar, and laid-back drum kit (not to mention players The Dillards, Bernie Leadon, and Gene Clark), Lind immediately wraps his nice voice around poetic storyteller verses. It closes with an unexpected little treasure of an outro, adding a sweet, smooth french horn line. Fine songcraft.

Listening to Loser, I can’t help but imagine Lind as a roots-rock David Bowie; either by inflection of the voice or it’s the lyricism, perhaps, they are kindred spirits. Bob keeps it pretty soulful and groovy on tracks like She Can Get Along, with its vocal workout ending, and the lazy Not That I Would Want Her Back, featuring more orchestral backing on the choruses. The softer numbers are melodic gems that will stay with you. Theme From The Music Box and the title track, Since There Were Circles, are melancholy and wonderful. Five bonus tracks supplied by Bob Lind himself stand apart from the flow of the album, but stand strongly on their own.

Get yourself this beautiful 2006 reissue from the fine UK label RPM Records and give it up to Bob Lind, who certainly had much more music left in him after his 1966 #5 folk hit, Elusive Butterfly. I keep coming back to this esoteric beauty.

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“Loser”

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Gene Clark “White Light”

| Americana,Country Rock,Folk

White Light

As a songsmith, Gene Clark was the master – in his lyrics and changes he carved his unique vision indelibly into the history of American music.

White Light gets right into it, as the best often do. Gene’s discography can be a little confusing to navigate, until you get to this one, where it’s clear that everything hit the finest spot. It’s delicate, intense, and instantly likable, especially for fans of Clark and his defining work with The Byrds and following projects.

The orchestra is stripped and real: acoustic guitar, forceful harmonica, electric bass, brush drum kit, drops of electric guitar here and there. Touches of soft organ and bare percussions. This is good American roots music in a style only Gene owned. There was always something mysterious and cool going on; it won’t let you call it country music. t has a transcendental value. Regardless of classification, the tunes are downright beautiful, and incredibly original.

The album never drags for careful listeners, becoming anthemic and elusive, this one gives me a weary eyed stare and a gentle shake. The classic “Tears Of Rage” sounds like a whole new piece towards the close of the record; Gene makes his cover sound more like the imagined original, toned down, less developed, with his trademark, somewhat ghostly sound.

White Light is subtle, but it will steal you away. It can make you sad and wonder why. Highly recommended masterpiece.  The reissue is simple and clean, good bonus tracks, affordable and great sounding.

so short and so sweet, you have to listen twice.

cryptic lyrics

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“White Light”

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Crazy Horse “Crazy Horse”

| Country Rock,RnB

Crazy Horse

Crazy Horse was formed by the excellent songwriter Danny Whitten, who originally released an album while known as The Rockets, considered essential for collectors. Nils Lofgren, virtuoso guitarist, and Jack Nitzsche, Spector associate and renowned producer, joined when Neil Young recruited the band to back him on his 2nd solo album, and they were renamed Crazy Horse. Their debut is an excellent hard country rock LP that would prove the capability of the band apart from Neil Young’s lead vocal and songwriting.

This record packs a most satisfying punch. There are some bruisers on here in “Gone Dead Train” and the foot-stompin’ “Beggars Day” with its phaser/flanger effect penetrating the mix. Parts sound inspired by Young and “Dance, Dance, Dance,” under his pen, is a kickin country rock number with an old-timey feel. Arguably, the best tunes come from Whitten, like the hypnotic “Look At All The Things,” a soft and beautiful ballad, “I Don’t Want To Talk About It,” and of course the rollicking “Downtown” which would resurface on Neil’s Tonight’s The Night.

Sadly, Danny Whitten’s heroin use would lead to him being excused from Crazy Horse and he overdosed in late 1972. A major loss considering his unrealized talents, best heard on this album, and his death would partly influence the Ditch Trilogy.

Forget the whole story though. Forget Neil Young. Just get yourself some Crazy Horse and drive.

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“Look At All The Things”

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McGuinness Flint (self-titled)

| Americana,Folk,Pop,RnB

McGuinness Flint

Here’s another roots rock classic in the same vein as The Band, only this slice of ‘Americana’ is from the UK! McGuinness Flint is sort of ‘The British Band’ and their debut album is a good, straightforward roots rock record worthy of your attention.

McGuinness Flint are Steve McGuinness, former Manfred Mann guitarist, and Hughie Flint, former John Mayall & the Bluesbreakers drummer. They only lasted from about 1970-1973 and thus were a bit ahead of the emerging Pub Rock scene in the UK, which might have provided them some more longevity, but it was well received in 1971. Two of these songs made the top 5 upon release in the UK: the upbeat go-to track, When I’m Dead And Gone(#2), and the polka-ish Malt And Barley Blues(#5). There are fun and strong tunes here like Bodang Buck, and Lazy Afternoon has a great mid-song transition. Mister Mister is brilliantly penned and infinitely catchy. Mainly, a good English folk/blues classic, and a pleasurable listen.

Faintly, the album teases some classic rock schmaltz; I don’t know how comfortable I’d be singing along to the lyrics “Rock on, rock on, everybody’s gonna rock on!” (unless it were a T-Rex song or something). And one time I dj’ed a track from this at a party and had to cut it short. But you can’t let missteps like these be judge. Fans of the Band are sure to be pleased with this quality record and will find the right time and place to let it ride.

The Capitol Years collection of Flint is your best bet, combining their first two albums on the same affordable CD. Their 3rd album, Lo and Behold, is a collection of Dylan covers!

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“When I’m Dead And Gone”

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Harry Nilsson “The Point”

| Concept Albums,Pop,Sunshine

The Point

I wish I could say I grew up with this record. I can’t say whether I would appreciate it more or less having discovered it in my 20th year or my 10th. Regardless, Nilsson’s kid pop masterpiece is a delight to hear on first discovery or nostalgic relisten.

Piano and bongos open up the groove before Nilsson begins to speak. “Everything’s Got Em” is a wonderful, catchy opener. Each track is bookended with Harry’s comforting narration, audible sips of water sips and page turns providing homey color. The story is a fable. Oblio, the only boy in town without a point on his head. After multiple listens (a must have record for road trips) you may catch yourself singing the narration as much as the songs “…you see what you want to see and you hear what you want to hear.”

The orchestration: piano, clavinet, mandolin, pizzicato strings, mellow percussion; every rhythm on this record interlocks in the most satisfying way. Nilsson crafted a pop sound with a hint of jazz that you’ll find nowhere else. “Think About Your Troubles,” “Are You Sleeping,” and “Me And My Arrow” are tracks that you will never forget.

There was a cartoon movie version of The Point (DVD), with Ringo Starr’s voice, but I find it to be a let-down after hearing the album. I suppose you have to see the movie first to enjoy it. I’ve always dreamed of a redone animated film of The Point, using something like the knitted style shown above, as a visual accompaniment to the album. It would have to be quite a work of art, thinking of that, to approach the genius of this record on its own.

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“Think About Your Troubles”

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Flower Travellin’ Band “Satori”

| Art,Prog,Psych

This was Japan’s premier hard rock group. They recorded several albums during the late 60′s and early 70′s though Satori and Made In Japan are their very best works. Satori is one of hard rock’s great lost records that finds common ground with Monster Movie era Can, the Stooges' Funhouse, MC5's High Time, Blue Cheer's Insideoutside and Guru Guru's self-titled 1973 lp. It’s an album that weds bludgeoning guitar riffs with philosophies from the Eastern world. Some have even gone as far to say that had Buddha formed a hard rock group, it would most likely resemble the music played by the Flower Travellin’ Band.

Funny notes aside, the band also has one foot firmly planted into the space rock era, meaning Satori will also appeal to listeners smitten by the sounds of Ash Ra Temple, Popol Vuh, Faust, Amon Duul and Embryo. Joe Yamanaka, the lead vocalist comes across as an underground Robert Plant, and by the time Satori Part 2 kicks in, your head will be blown off clean. This track has some of the deadliest eastern guitar riffs known to man and it’s held down by a heavy blues back beat. Yamanaka shouts, “There is no up or down” throughout this beautiful display of chaos. It’s really that good, and unlike anything I have heard before or since. Map begins softly but kicks in with some intense guitar playing and the kind of youthful vigor that’s only associated with teenagers.

Satori is the kind of record that unites punks, prog enthusiasts, metalheads and psych/garage fans. Its guitar playing is laced with eastern drones and Yamanaka’s strangulated vocals transcend the era, making Satori truly original and essential for any serious rock fan.

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“Satori Part 2″

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Link Wray (self-titled)

| Country Rock,Garage

Link Wray

This is a great record with which to understand the appeal of raw lo-fidelity recordings. Modern bands like Whiskeytown and early Wilco wrote music that could equal the work of alt-country masters of the past, but their tunes are hampered by modern recording technology, sounding so pretty and sterile that there is no authenticity or character. When you learn to love the toneless piano, acoustic guitar riffin, unaffected treblelectric guitar, and clanky assortment of found percussion objects driving this record, you might wonder why audiophiles ever bothered to enhance recording technology beyond 1971.

Link Wray was a guitar sensation in the late 50s and 60s who had instrumental hits in songs like Rumble and Jack the Ripper. He has the truly awesome distinction of being called the first guitar player to use overdrive and power chords! It wasn’t until 1971, however, during Link’s comeback that his masterpiece works emerged, in a style and sound akin to that of the Stones and V. Morrison, but a roots rock swamp muddy and smokin’. These albums were recorded in a converted chicken shack on Link’s Maryland farm using makeshift equipment.

Link Wray self-titled is an album that was hard to find in recent years. I had to get it on an OOP box set called Guitar Preacher which was a good, if incomplete, collection of Link’s comeback stuff. Now we are blessed with Wray’s Three Track Shack, a 2005 collection of these three excellent albums from 1971-1974. Beans & Fatback is every bit the equal of the self-titled record, and Mordicai Jones features singer Bobby Howard taking a Little Feat white-soul approach on lead vocals for the album. However, I do prefer Link’s tattered and gritty voice on the other records.

Songs on these records range from fuzz git rockers to country-grass interludes, but the best of them just drive with that laid back Stones feel that gets everyone to nod in time. This compilation is a one of a kind treat that should appeal to all roots rock and music lovers.

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“Fire And Brimstone”

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“From Tulsa To North Carolina”

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Little Feat “Little Feat”

| Americana,Classic Rock,Pop,RnB

Little Feat

Drop any preconceived notions you may have about this band and get this debut record. It’s a unique sound in their discography. A bluesy, roots rocker masterpiece with the loose feel of Exile on Main Street and the all around good presence of Manassas.

Formed under the wake of Frank Zappa, and even including former Mother, Roy Estrada on bass, Little Feat would go on, after their poorly selling debut record, to release albums with a different sound, featuring iconic sleeves by Weasels Ripped My Flesh artist Neon Park. I think it’s impossible to flip through a stack of used vinyl without finding that lady duck on the cover of Down on the Farm. Later Little Feat has its place, but we recommend this beast.

Some gems: there’s the beautiful, stripped-down Willin’, the song Zappa supposedly fired Lowell George over (either because it was too damn good for a session man or because it championed “weed, whites, and wine”). This song would be re-recorded by a later incarnation of Little Feat and become one of their most loved songs. A ripping Howlin’ Wolf tribute medley in Forty-Four Blues / How Many More Years is a nice feature. The album is great for a first listen because it just fills up the room with rock, but it is truly better as you delve in and listen more.

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“Snakes On Everything”

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T-Rex “Electric Warrior”

| Classic Rock,Pop,Power

Electric Warrior

I grew up thinking T-Rex was mad lame. See, you hear this “Bang A Gong, Get it ON!” song on classic rock radio all the time, and somehow everybody knows it’s T-Rex. But that’s it… pretty lame, man. Pick up the nice digipak release of Electric Warrior, however, and you’ll experience your first bout of T-Rextacy.

I’m just writing this one up in case. Everybody in the UK is sick of this album, but I didn’t know about it until a few years ago. It simply can’t be missed. From the moment Mambo Sun sets the kicked back groove, Electric Warrior is an album with immediate resonance. It carries on to the beautiful Cosmic Dancer (watch the great film Billy Elliot for a healthy dose of Rextacy) before taking off with the rocking Jeepster. The album continues this way dynamically, but every song is so simple, every melody so smart, every lyric so strange, and every sound so classic.

It’s no wonder Marc Bolan was in love with himself. Check out the Born to Boogie DVD to see him perform next to a giant cutout of himself while wearing his face on his tee shirt. Electric Warrior is the album when Bolan took the folkier, mystic Tyrannosaurus Rex to the next level. Basically, he wanted to rock. So he brought out the electrics and the drum kit, but kept the bongos and added some strings. Just go get Electric Warrior, then The Slider. Then, if you’re up for it, old buddy Sergio will tell you about TANX.

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“Life’s A Gas”

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