THE RISING STORM

The announcement of the reunion album featuring all five original Byrds raised expectations to the point where whatever emerged was almost bound to be an anticlimax. (Imagine the effect of the Beatles reforming around the same time, if you will.) Despite a general thumbs-down from the critics, fan loyalty and eager anticipation made the new long-player highly successful at the record store: in the States, the biggest-selling new-material Byrds album since Turn, Turn, Turn. Subsequent reviews expressed varying degrees of disappointment, but recent re-evaluation with almost forty years of hindsight portrays the project as fascinating historically and not without merit artistically. Interest in it has never waned and it’s been re-released on CD no fewer than four times. The Wikipedia article on it is almost a book.

The theory behind the reunion varies. According to one version, the famously unreticent David Crosby visited Roger McGuinn in mid-1972 and panned the well-loved White/Battin/Parsons Byrds lineup, saying, “you’ve done some OK stuff but you’ve also done stuff that is pretty bad. Please stop doing it under the Byrds name”. Crosby then suggested reforming the original band to record an album showing where the founder members “are at today”. Another version has the ever-opportunistic David Geffen seeing the lucrative potential of a reunion and planting the suggestion in McGuinn’s mind, noting that McGuinn himself had become dissatisfied with the long-standing lineup and replaced Gene Parsons with salaried sessioneer John Guerin. Either way, McGuinn acquiesced and the other members, all having found themselves between longterm engagements, followed.

The nature of the final work supports the first theory: the album is The Crosby Show in almost every respect. Although on the surface democracy seems to be served by each of the four principals furnishing two original compositions, two of the three accompanying covers are Neil Young songs and the third is by Joni Mitchell, both being longtime Crosby cronies (though Clark takes lead vocal on the Young ditties). It’s been suggested that the other three writers were saving their best material for their own solo projects, but though none of their offerings is a blockbuster they’re all engaging enough, especially Gene Clark’s delicate “Full Circle” and Dylanesque “Changing Heart” and McGuinn’s ersatz-traditional “Sweet Mary”. By contrast, Crosby’s “Long Live The King” is characteristically ebullient, while his “Laughing” is itself actually a cover of the original that appeared on his sublime 1971 collection If Only I Could Remember My Name. Crosby also has the sole production credit; the only tracks that show real spirit in the lead vocals are his; and in the cover photographs he’s the only one who really looks like he wants to be there. (Chris Hillman looks like he’d rather be anywhere else at all.)

The sound of the album is also heavily redolent with Crosby’s aural fingerprint. Acoustic guitars predominate, with the electrics and bass mostly mixed way back and only Hillman’s vibrant mandolin and Clark’s plaintive harmonica forefronted strongly as solo instruments. Apart from “Laughing”, all the songs have short, terse arrangements, never really catching fire. While Crosby’s lead vocals soar, Clark’s and Hillman’s are more subdued and McGuinn’s particularly sombre. The block harmonies are immaculate but display the sweetness of CS&N rather than the engaging rough edge of latterday Byrds. One is led to conclude that with this album Crosby finally achieved, albeit temporarily, belatedly and with questionable success, the domination of the Byrds that he’d craved during the classic years.

mp3: Full Circle
mp3: Long Live the King

CD Reissue | 2004 | Wounded Bird | at amazon ]
Original Vinyl | 1973 | Asylum | search ebay ]

I recently finished reading Jan Reid’s (cowritten with Shawn Sahm) new Doug Sahm biography, Texas Tornado: The Times & Music of Doug Sahm out now from The University of Texas Press. This post isn’t so much a review of the album above, but more of a short audio compendium to the book, highlighting some of Doug’s favorites, standards, where he came from and what he inspired.

Read our book review at Aquarium Drunkard.

mp3: Bobby “Blue” Bland – I Pity The Fool
mp3: Claude King – Wolverton Mountain
mp3: Freddy Fender – Wasted Days and Wasted Nights
mp3: Doug Sahm – Sometimes You’ve Got To Stop Chasing Rainbows
mp3: Sir Douglas Quintet – At The Crossroads

“Why can’t you just groove!”

Texas Tornado | 2006 | Collectors Choice | at amazon ]

The Blo experience is best heard on RPM’s Chapters and Phases (2009).   This reissue includes both the Chapter One (1973) and Phase II LPs in their entirety.

Blo (based out of Lagos) grew out of the Clusters, a popular late 60s group who made ends meet by covering Beatles and Stones tunes.  Before long people began refering to the Clusters as the “Nigerian Beatles” but the group also soaked up the sounds of Jimi Hendrix, James Brown, and local hero Fela Kuti.  To make a long story short things did not work out for the Clusters who included future Blo members Akintobi and guitarist/songwriter Berkley Jones.  In 1972 Blo made their Christmas debut at Lagos City Stadium and by all accounts blew supporting act Osibisa off stage.   Lagos City Stadium housed 10,000 vistors strong, all who were chanting “we want Blo” that day - a trio they had never seen before!

Press reports began describing Blo as Africa’s first real rock band. Following the explosive live performance at Lagos City EMI issued Chapter One in the summer of 73.  At the time nothing sounded quite like it.   The album is an extraordinary mixture of funky James Brown beats and spacey psychedelic guitar jams (check out the superb instrumental ”Miss Sagitt”).    Album opener “Preacherman” combines both these styles into something really far out and classic.  The spiraling acid guitar solos and shuffling drum work really stand out on this cut. Brilliant.  Every song is worth listening to multiple times but I’ll single out all 6 minutes of “Don’t” for it’s hazy, hypnotic vibe that’s similiar to early Can.

Sadly, Blo never really broke out of Nigeria despite having the look, superior chops, and an excellent batch of songs.

“Preacherman”

Complete Recordings | 2009 | RPM Retro | buy at amzn ]

Sometimes it’s the less visible members of a great band who turn out to be the most interesting. Gene Parsons was the drummer with the Byrds from 1968 to 1972. If you’ve ever even heard his name, there’s a fair chance that you’ll confuse him with his near namesake who was with the same band less than a year and achieved a disproportionate notoriety. It’s indicative of Gene’s character that when Chris Hillman quit the Byrds to form the Flying Burrito Brothers with Gram, Gene refused the invitation to accompany him, choosing to stay with the seemingly over-the-hill outfit out of loyalty, particularly to close friend Clarence White, rather than take a giant leap with the hotly-fancied new boys.

Gene’s career continued to be defined by his unassuming, sensitive personality. When Roger McGuinn finally fired Gene and Clarence before the ill-fated reunion of the original band, Gene went into Warner Brothers to record an album of the songs he’d been unable to persuade McGuinn to perform with the Byrds. The project had support from Clarence throughout, with guest appearances from legendary bluegrass artists Vassar Clements on fiddle and Ralph Stanley on vocal. But the biggest surprise was the appearance of Gene Parsons, lead vocalist and multi-instrumentalist, who beside thumping the tubs proved to be a butt-kicking five-string banjoist and also contributed acoustic and electric guitars, pedal steel, harmonica and bass. Gene’s earnest vocals front seven originals plus covers by Lowell George, old partner Gib Guilbeau, Stanley and Skip Battin. The feel of the album is as refreshingly homespun as might be expected, with an air of bluegrass that predates the genre’s eighties traditionalist revival and compares with the slick commercial country rock then being produced by the various other Byrds alumni and their contemporaries. The sparse, bright production by Russ Titelman is exemplary.

The album garnered strong reviews from Rolling Stone and other music press biggies and might have prefigured a profitable, if appropriately low-key, solo career for Gene, but shortly after its issue Clarence White was killed and, in despair at the loss of his friend and collaborator, Gene withdrew from his Warners contract and retired to his California farm to concentrate on developing the Parsons-White String Bender. It would be three years before he ventured on a stage again, joining the reformed Burritos for a three-year tenure during which Gene finally found peer acceptance in a group milieu as composer and vocalist. Since then he’s continued to make public music at intervals whilst devoting his main effort to production and further development of the String Bender. He still has the trademark “soup strainer” moustache and professes contentment with life in a style typical of the man.

Kindling has been reissued by Sierra Records as The Kindling Collection, which bookends the whole album with seven neglected Parsons originals from the Byrds’ albums and four more from the later Burritos era. Clarence White features heavily on the former cuts and Sneaky Pete Kleinow on the latter, and the whole package is an excellent chronicle of Gene’s first-division career.

“Monument”

Vinyl | 1973 | Warner Bros | search ebay ]
CD Reissue | 1995 | Sierra | buy from sierra ]

This is good singer-songwriter fare that’s well worth seeking out (and a pretty easy find too). Loudon Wainwright III had been kicking around for some time, releasing a few critically acclaimed folk albums throughout the early 70s. Attempted Mustache (his 4th LP) is one of Loudon’s finest efforts, a loose, low key affair with brutally honest lyrics and even a few shambolic, drunken performances that are highly entertaining. So while the playing and atmosphere is relaxed, this LP features some of Loudon’s best loved songs, a few that rank as true classics. Columbia released this very solid, musical album in 1973 (Loudon’s prime years), as he was just coming off the fluke hit “Dead Skunk.”

The album opens with “Swimming Song,” a very personal composition with clever lyrics. For this track Loudon’s ex-wife taught him how to pick the banjo. Towards the end Doug Kershaw adds some wonderful colors with his superb fiddle work. All in all, a brilliant performance that captures the man at the top of his game. Other great numbers are “A.M. World” (drunken country-rock), “Come A Long Way” (fragile Americana), “Nocturnal Stumblebutt” (sexually charged singer-songwriter nonsense) and “Lullaby” (melancholy folk-rock). These tracks rank as some of the finest unsung singer-songwriter material from the era but the humorous, looser cuts such as the live, talking-blues of “I Am The Way”, the modern/indie sounding “Dilated To Meet You” and rocker “Clockwork Chartreuseare” are almost as good.

Some reviewers have criticized Loudon’s work for being too emotional or overly sensitive but I think Attempted Mustache sounds great, especially all these years later. More of a hard luck hero than a James Taylor, Loudon delivers the goods on Attempted Mustache.

“The Swimming Song”

Vinyl | 1973 | Columbia | search ebay ]
MP3 Album | download at amzn ]

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 ]

(26 votes, average: 7.46 out of 10)

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So what of THE BOSS? Is this debut his finest moment? Second to its successor? Was the best of Bruce a ways to come? Is it even worth listening to?

“Blinded By The Light”

Original Vinyl | 1973 | Columbia | ebay ]
MP3 Album | download ]

In 1969 Mickey Newbury’s Looks Like Rain began a string of incredible albums that lasted well into the 1970s. Heaven Help The Child, released in 1973, was one of his very best records. It was also the last of his classic Cinderella Sound Studio Recordings (a garage studio). Produced by Dennis Linde, Russ Miller and Marlin Greene, Heaven Help The Child featured a whole cast of contemporary Nashville musicians: Wayne Moss (guitar) Chet Atkins (guitar), Vassar Clements (violin), David Briggs (keyboards), Buddy Spicher (drums) to name but a few. Many of these talented musicians had performed on Newbury’s prior albums’ Looks Like Rain and Frisco Mabel Joy. Once again Mickey Newbury was up to the task, releasing another hard-to-categorize classic.

“Heaven Help The Child,” the title track, is a soaring American masterpiece that was beautifully produced and featured poignant lyrics about Park Avenue, New York in 1912, 1920’s Paris, and of course freight trains. The lyrics, as always have lots of depth and the overall feel of the song becomes captivating when Newbury sings in his ghostly voice, “We’re all building walls instead of bridges.” “Heaven Help The Child” ended with an air of uncertainty but it goes without saying that this was one of Newbury’s finest creations. Another highlight, “Why You Been Gone So Long,” swings with a confident country-rock swagger and features excellent dobro guitar and Newbury’s smokey vocals which simmer throughout the song.

Four of the songs from Heaven Help The Child had been released on earlier LPs.  Here, “Sunshine,” “Sweet Memories,” “Good Morning Dear,” and “San Francisco Mabel Joy” all enjoy definitive reworkings.  Great songs from Newbury’s prior discs had become even better renditions for Heaven Help The Child.  From my perspective, “Sweet Memories” and ”Sunshine” stand out for their dark tone.  Here, Newbury shares his pain with the listener and by the end each song you begin to feel it – the vocal performances on all these tracks are flawless.    You will never hear any country music like this, it’s experimental but more importantly, the honesty and personal nature of Newbury’s songwriting talents shine through.  It’s what makes him such a special, enduring artist.  By all means, if you find this album on vinyl, cd or mp3 pick it up, it’s absolutely brilliant.

Mickey Newbury’s music isn’t glamorous or pretentious, he never tried to be someone else nor did he follow any sort of fad (just like country-folk contemporary Townes Van Zandt). Newbury’s appeal was in the song, he brought you back to a familiar place and time. His music, while very complex, is easy to relate to; he was just a regular guy with extraordinary vocals and a unique songwriting talent. As mentioned in a previous post, the Mickey Newbury Collection (Mountain Retreat box set) has been out of print for quite some time. You can purchase a digital download of this album and many other Mickey Newbury classics at the official Mickey Newbury website.

“Why You Been Gone So Long”

MP3 Album | mickeynewbury.com ]
Original Vinyl | 1973 | Elektra | search ebay ]

(50 votes, average: 7.16 out of 10)

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The Pink Floyd’s best album… or worst album? Cheezy and overplayed… or undeniably genius?
Even after 10+ Wizard of Oz syncs (yes, I have done it that many times) , I still can’t decide on this one.
What’s your call?

CD search | amazon ]
Original vinyl search | ebay ]

These Trails was an acid folk group who released a very rare record in 1973.  The lp was released by Sinergia and is probably one of the best Hawaiian lps along with Mu.

Prominent members of the group were Margaret Morgan (vocals, guitar and dulcimer), Patrick Cockett (guitar, slide guitar and vocals) and Dave Choy (arp synthesizer, recorder, arrangements and final mix).  Margaret Morgan handles most of the lead vocals with Patrick Cockett occasionally chiming in.  Morgan’s vocals are dreamy and ideally suited for this kind of organic music (acid folk).  Comparisons that come to mind are Linda Perhacs, though Morgan’s vocals are more innocent and angelic and the music on this lp clearly betrays a Hawaiian influence.  Many of the songs are relatively pop friendly; this isn’t difficult, challenging music that has to be listened to closely – ie folk guitar virtuousos spinning off long, complex guitar solos or intricate passages with finely tuned arrangements – it’s not that kind of record.  The synthesizers give tracks like Of Broken Links an otherworldly sound, unlike anything you’ve ever heard.  El Rey Pescador is graced by some light sitar touches and close harmony singing. 

Each track stands out on its own but Psyche I & Share Your Water is a tremendous favorite.  This 5 minute track begins with a calm, soothing folk feel highlighted by some fine acoustic guitar work.  Eventually it descends into bad trip territory with ghastly vocals and spooky electronics – an outstanding track, very trippy and worth the price of admission alone.  Garden Botanum is another strong hightlight that hits like a ray of Hawaiian sunshine, the arrangements are free and green with lots of interesting twists, the vocals are beautifully exotic.  This lp is one of the most relaxing listening experiences I’ve ever come across, an album to savour.  The songs are full of simple beauty and the power of the performances will never diminish over time. 

If you’re looking for something different, These Trails could be the right tonic.  It’s one of the hidden gems from the early 70s and has been reissued on cd but is somewhat hard to come by these days.

“Psyche I & Share Your Water”

These Trails | google search | ebay search ]

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”

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