It took a while longer to appear than expected, but Skip Battin’s second solo album has finally surfaced on CD after thirty-nine years. The explanations for its shelving in 1973 include, depending on whom you read and believe, (a) the vinyl shortage resulting from the oil embargo following the Yom Kippur War, (b) the cancellation of the fall-of-‘73 national tour featuring Skip, Gene Parsons, Gram Parsons, Clarence White and Country Gazette through various city fathers vetoing the presence of “longhairs”, or (c) loss of heart in the recording project following the death of Clarence. Following Skip’s own passing in 2009, his son Brent negotiated with California’s Sierra Records to issue the “lost” album posthumously in celebration of the fortieth anniversary of Skip’s first appearance with the Byrds. Three years further on, we finally have it, and it’s been worth the wait despite the sad circumstances of its gestation and publication.

Clarence was killed on July 15, 1973, three days before recording was due to begin, but the sessions went ahead nevertheless. In place of the various Byrds alumni who backed Skip on his eponymous debut set, he received the services of members of the redoubtable Country Gazette and assorted friends: Bob Beeman and Herb Pedersen (acoustic guitars), Chris Etheridge (RIP April 23, 2012 – bass), Byron Berline (fiddle), Alan Munde (banjo), Roland White (brother of Clarence – mandolin) and Mike Bowden (drums), and in Clarence’s place came Al Perkins from the Souther-Hillman-Furay Band on electric guitar, pedal steel and Dobro. A more capable combo could not have been wished for, and the album resonates with their flawless musicianship behind Skip’s down-home Dylanish vocal and piano. If there was an atmosphere of sadness and loss in the studio, it doesn’t show in the music, which is relentlessly upbeat and powerful on the fast tunes and warm and sympathetic on the ballads. The bluegrass players shine both ensemble and as soloists, and Perkins’s contributions are remarkably assured given his last-minute drafting. Production by Skip’s longtime writing and recording partner Kim Fowley is exemplary, as you’d expect.

The CD package as released by UK imprint Floating World on licence from Sierra includes the nine original studio tracks completed before the decision to abandon. These are split between typically idiosyncratic Battin/Fowley country-rock originals – “Bolts Of Blue”, “Don’t Go Down The Drain”, “Stoned Sober” – and supercharged bluegrass covers – the Morris Brothers’ “Salty Dog Blues”,  A.P. Carter’s “Foggy Mountain Top”, the traditional ”Roll In My Sweet Baby’s Arms” – plus a truly inspired reworking of the old 1959 Olympics hit “Hully Gully”. In addition to these there are several bonuses. “Willow In The Wind” and “China Moon” are taken from Skip’s 1981 album “Navigator”, an Italian-only release featuring Sneaky Pete Kleinow on pedal steel. The ghost of Clarence walks on an alternative version of “Roll In My Sweet Baby’s Arms” and on “Old Mountain Dew”, two rehearsal tapings which are thought to be the last recorded work Clarence ever laid down. Rounding the package out is a short mpeg of a clean-cut Elvis-quiffed Skip performing solo on a 1965 Californian TV show similar to Ready Steady Go on which he lip-synchs a couple of pre-British Invasion teenypop songs, “Searchin’” and “She Acts Like We Never Have Met”. All in all, then, a lot of Skip for the money and well worth the investment if you’re interested in the long and varied career of this fine musician, in which case you’ll also want to see this astonishingly comprehensive history, rare photos and discography.

mp3: Bolts of Blue
mp3: Salty Dog Blues

Reissue | 2010 | Sierra | buy here ]

Coloured Balls were one of the best pure rock n roll groups to emerge from the early 70′s Australian scene.  Sure, The Saints and Radio Birdman stayed together longer and released a slew of fine albums during the punk era but it was the Coloured Balls who pioneered the proto punk sound earlier in the decade.  Their wildcard was Lobby Loyde (also known as John Barrie Lyde), Australia’s premier guitar hero (detractors must check out his live at Sunbury performance of “G.O.D.” – from Aztec’s Ball Power reissue) whose pivotal roles in beat/psych/blues rock groups The Purple Hearts, The Wild Cherries and Billy Thorpe’s Aztecs made him a major home-grown star down under.  Ball Power is not only the Coloured Balls’ greatest album but also the finest music of Lobby Loyde’s long, fabled career.

Ball Power, released in 1973, favorably recalls the latter day MC5 or the Pink Fairies from their great Kings of Oblivion LP.  The best moments on Ball Power are transcendent.  ”Human Being,” the album’s lone classic, is a blistering hard rock masterpiece notable for its crunching buzz saw guitars and bludgeoning rhythm section.  ”That’s What Mama Said” is essentially “Human Being” drawn out to 10 minutes but this time around Coloured Balls utilize a foot-controlled Theremin and lots of guitar soloing/guitar noise (progressive raunch).  Other good ones are “Won’t You Make Up Your Mind,” which sounds like anarchy in the UK before there was such a thing, the powerful boogie rock of “Hey! What’s Your Name” and “Something New,” a hard psych number with phased guitar work.  Even the lesser cuts hold up quite well and if anything, serve to display the group’s diversity and unique talents.  ”B.P.R.,” a strong blues instrumental, gives Lobby Loyde room to stretch out and solo while their rendition of “Whole Lotta Shakin’” rocks as hard as any version I’ve heard of this classic.  From beginning to end Ball Power is an excellent album that’s mandatory listening – all the performances have that road-honed tightness and tense, proto punk edge.

Several years back Aztec Music reissued this lost classic on cd but since then its become very expensive and increasingly hard to find.  Coloured Balls would release two other flawed but worthy albums, 1974′s Heavy Metal Kids and 1976′s First Last Supper (1972 recordings).

mp3: Won’t You Make Up Your Mind
mp3: Hey! What’s Your Name

Original |  1973 | EMI | search ebay ]
Reissue | 2006 | Aztec | buy here ]

By the early 70′s Slovakia-born brothers Bystrik and Andy Brazda had relocated to Ontario, Canada in search of greener pastures. Shortly after settling down in their new home they began writing music together. Canadian owned Dominion Records released their first and only lp, The Brazda Brothers, in 1974. Rumour has it that the brothers laid the entire album to tape in a marathon six hour session at RCA Studios in Toronto. Marathon session or not, The Brazda Brothers is one of the finest psych-folk lps ever pressed to wax.

The first track, “Walking Into the Sun”, sets the warm and peaceful pace that permeates the album when a lightly strummed acoustic guitar gives way to a gentle soft-psych tune that comfortably slinks by–full of melodic, wistful vocals, crystal clear electric guitar, thumpy tubby drums, and a wonderful appearance by what sounds to be a calliope, but is credited as a Cordovox–the same keyboard that shows up frequently to add its unique touch to much of the record. Right off the bat it’s clear that the brothers had a vision to share and they do so in an innocent, heartfelt way. This homegrown feel sets their record apart from the pack, earning it a place at the table with other lost classics of the era.

“Share With Love” is an upbeat number that encourages the listener to consider the needs of their fellow brothers and sisters. With its reverb drenched guitar and minor key refrain this tune has an almost garage flavored folk-rock sound, and its slightly eerie vibe adds a different taste to the record and shows a different side of the brothers’ sound. Midway through the album the brothers turn the volume up a bit with “Gemini”. Complete with gloriously fuzzed-out electric guitar and an almost-boiling Hammond Organ that adds something exotic to the mix, this tune definitely delivers in the psych category and comes out as one of finest cuts on this collection. The entire song has a subtle Eastern-European vibe that becomes most apparent when the brothers harmonize on the refrain. On the next track, “Nature”, Andy dreams of a carefree life spent living in the country, singing “the sun will shine all day/Mother nature will be our neighbor”. Reminiscent of “Hello Sunshine” and other tunes off of the Relatively Clean Rivers lp, this song has a great late sixties soft-psych vibe as well as a catchy chorus, and continues the acid-rural-pastoral-folk vibe that begins with the album opener.

“Lonely Time” is a beautifully sad little gem that finds Andy again longing for the peace and serenity of a home surrounded by nature and the familiar faces of friends and loved ones. In 2008 Panda Bear of Animal Collective fame payed tribute to these Slovak brothers when he released a remix of The Notwist’s “Boneless” that uses the opening riff of “Lonely Time” to fine effect.

The only criticism of this album is that several of the songs, such as “My Little Girl” and “Nature” have a very similar sound. However, it’s hard for it to bother you when it’s such a great sound! In the end, the pure and honest nature of the album along with the wonderfull vibe trumps any criticism.

The Brazda Brothers is a great album that stands shoulder to shoulder with other similar sounding lost classics of the time such as Relatively Clean Rivers, Rodriguez’s Cold Fact, and Jim Sullivan’s UFO. With their laid-back attitude, sunny rural vibe, and unique voices, the brothers crafted the perfect album for a lazy summer afternoon full of good vibes. As you’ve already guessed, original copies are rare, and sell for a very pretty penny when they do pop up. Hallucination CDs out of New Jersey re-released the album on cd with a limited pressing of 1,000 copies, and Void Records has reissued the album on vinyl. Pick up a copy while they’re still available!

“Walking Into The Sun”

Orig Vinyl | 1973 | Dominion Records | search ebay ]
CD Reissue | 2009 | Hallucination | buy here ]

Dixie Chicken (1973) is when Little Feat came up with their signature sound.  Many fans cite this as the group’s best LP.  I’ve always thought their debut was one of the best albums from the time (Sailin’ Shoes is also superb), so I’m not really sure which side of the fence I stand on.

Dixie Chicken is a more produced (rich, full sound), laid back affair when compared to the raw eccentricity of those first two albums.   Most of the tracks are Lowell George originals but to give you an idea of the influences at work here, the group covers Allen Toussaint’s “On Your Way Down.”  This means there’s a strong New Orleans aroma throughout Dixie Chicken.  Classics like the title track and “Two Trains Running” while great songs, feature soulful backup vocalists, which make them sound a bit more produced than the group’s earlier efforts.  That being said, this is certainly one hell of an album – one of the defining roots rock discs.  On Dixie Chicken, the group incorporated funky, almost danceable rhythms within many of the song structures while other tunes such as the excellent “Kiss It Off,” replete with ominous synth or “Juliette,” feature dark, intense vibes.  Dixie Chicken is also notable for featuring one of Little Feat’s greatest songs, the much loved “Fat Man In The Bathtub.”

Impassioned vocals, great lyrics, piano, slide guitar and a rock steady beat make this track one of classic rock’s great legends - there’s nothing like it.  My picks are the acoustic (and slide guitar) piece “Roll Um Easy” and the jumpin’ “Fool Yourself.”  Both songs have the feel and style of Little Feat’s earlier triumphs.  All told, Little Feat came up with their third masterpiece in as many years.  Essential.

“Kiss It Off”

Original Vinyl | Warner Bros | 1973 | search ebay ]
Spotify link | listen ]

In 1972 Lindsey Buckingham and his girlfriend Stevie Nicks arrived in Los Angeles with a stack of demos, determined to make a dent in the music industry. By 1973 the pair had scored a deal with Polydor Records and headed into Sound City recording studios in Van Nuys to record their debut with producer and engineer Keith Olson behind the board. The resulting 10 track lp, Buckingham Nicks, is a finely crafted pop record that features contributions from some of L.A’s finest studio musicians of the time, including Waddy Wachtel, Ronnie Tutt, Jerry Scheff, and the infamous Jim Keltner, as well as the exceptional six-string slinging talents that Buckingham would later become famous for and, of course, Nicks’ platinum pipes. Featuring a priceless cover photo, this is the release that first exposed the talents of Lindsey Buckingham and Stevie (then credited as Stevi) Nicks to the world.

Side A kicks off with “Crying In The Night”, a poppy folk rocker complete with a lead vocal performance from the young Nicks, already sounding completely in her element. The sound of the song contrasts perfectly with the lyrics, which tell a cautionary tale about a woman on the prowl with not-so-good intentions–another devil in disguise. The driving rhythm, chiming guitars, and hook filled refrain sound straight from the sun bleached streets of Los Angeles and come together to perfectly sum up the essence of what the Buckingham Nicks team was all about. The song is catchy and compact, every element sounding perfectly placed, as if the duo had already perfected their songwriting style and were just waiting for the spotlight to shine their way.

“Without A Leg to Stand On” features both Buckingham and Nicks on vocals, giving Buckingham a chance to step up to the microphone while showcasing their perfectly executed harmonizations, foreshadowing the impressively layered harmonies that would follow shortly when the duo began cranking out hit records with Fleetwood Mac. Chiming 12-strings sparkle and shimmer throughout, and Buckingham even whips up a few tasteful guitar solos, sounding effortless as usual. Overall, the tune has a laid back Malibu vibe that skirts the line between a ballad and a mid-tempo rocker, finally ending up sounding like a lost outtake from Fleetwood Mac streaming out of an FM radio while cruising down Pacific Coast Highway on a sunny day. Which is, of course, a good thing!

“Crystal” surprisingly ends up being one the weaker cuts on the album, with Buckingham at times coming off as if he’s trying his hardest to sing a pretty song, instead of pouring himself into an emotional performance. The treatment given to the song on 1975′s Fleetwood Mac has an added depth lacking from this early version. Meanwhile, “Stephanie” and “Django” are both short instrumental tracks that highlight, you guessed it, Buckinghams enviable guitar skills. The first of these two, “Stephanie”, is a pretty little tune with more of Buckingham’s trademark shimmering Martin acoustic guitar tones, sounding similar to “Never Going Back Again” off of Rumours. The one minute long “Django”, is obviously a tribute to the Gypsy Jazz guitar master, but unfortunately offers little in the way of melodic development.  Neither “Stephanie” nor “Django” detract significantly from the experience of listening to Buckingham Nicks, but their odd placement in the sequencing of the album does disrupt the flow a little bit and leaves the listener wondering what in the world Polydor was thinking. Nevertheless, both of the tracks are valuable for their insight into the Buckingham Nicks machine and should interest listeners who have ventured far enough into the history books to reach word of this release.

The seven-minute long “Frozen Love” is an absolutely epic album closer. Starting off with fingerpicked acoustic guitar and eventually leading to orchestral flourishes, harmony vocals, and killer harmonized electric guitar leads, “Frozen Love” leaves the you yearning for more, practically taunting the listener to flip the record and do it all over again. Appropriately enough, this is the tune that Mick Fleetwood is rumored to have heard one day while touring Sound City, prompting him to offer Buckingham a spot as lead guitarist in Fleetwood Mac. Buckingham infamously told Fleetwood that Buckingham and Nicks were only available as a package deal, and the rest is history!

Unfortunately, Buckingham Nicks has never been reissued on cd. Fortunately, original vinyl copies aren’t too hard to come by, and several cd bootlegs have been available throughout the years. This album is essential listening for fans of Fleetwood Mac and the light it shines on Buckingham’s contribution to the British blues band’s new sound is truly revelatory. If you’ve got a craving for more in the way of 70s era Fleetwood Mac, you know how to score the fix!

“Crying in the Night”

Original Vinyl | 1973 | Polydor | search ebay ]

By the time Chris Darrow entered Trident Studios in London to record his self-titled debut solo LP, he was already an accomplished, respected, and in-demand musician. As a member of the wonderful genre-bending Southern California psych band Kaleidoscope he had already contributed his talents to their first couple of albums, 67′s Side Trips and 68′s A Beacon from Mars–two excellent psych-rock albums that were some of the first to incorporate world music forms from all over the globe. After leaving Kaleidoscope he was recruited by The Nitty Gritty Dirt band, playing on 68′s Rare Junk, 69′s Dead and Alive, and 70′s Uncle Charlie and His Dog Teddie. After leaving The Nitty Gritty Dirt Band he found work as a session musician–playing guitar, banjo, fiddle, dobro, mandolin, bass, keyboards, and singing on a handful of wonderful albums, including Hoyt Axton’s Joy to the World, James Taylor’s Sweet Baby James, John Fahey’s Of Rivers and Religion, and more. Chris Darrow had established a reputation as a musical force to be reckoned with.

Darrow had already released his first self-titled solo LP in 1972 with Artist Proof, and his sophomore LP was released by United Artists in 1973. With a sound heavily influenced by and rooted in the traditional American musical forms Darrow loves so much–country, blues, jug-band, cajun music, bluegrass, and fiddle tunes–Chris Darrow comes out of the gate showcasing a list of influences nearly as long as the list of instruments which Darrow had already mastered. However, like a master craftsman he weaves it all together to form a musical tapestry of his own creation, allowing all the elements to work together seamlessly and create a cohesive and creative whole. Perhaps his greatest achievement with this album was the way in which it predicted the shift towards the more complex and genre bending approach we would come to see undertaken by singer songwriters in the years and decades following its release.

The highlight of the album, opening track “Albuquerque Rainbow”, sounds like that great lost “Exile On Main Street” outtake with Gram Parsons singing lead that we’ve been praying for all these years. Opening with just Chris and his guitar, this song is about as close to a perfect combination of country and rock as this record contains, matching tasteful pedal steel ornaments on an acoustic guitar driven tune with a catchy hook and Allman Brothers influenced harmonized guitar leads. With its easy going feel-good early 70′s rural vibes and upbeat tempo this song,which makes for a perfect addition to any road trip soundtrack, will not leave your head soon after you hear it.  “Take Good Care of Yourself”, with some exceptionally fine old-timey fiddling, anticipates the bluegrass/reggae sound that fellow Kaleidoscope member David Lindley would hint at on several of his future solo releases.

“Whipping Boy”, another Darrow original, is a blistering blues rocker with raunchy slide guitar and a driving rhythm that features some extra funky bass playing. When Darrow twangs out Listen here/I don’t care/I don’t wanna be your whipping boy he sings it like he means it and lays it on thick. Darrow’s voice really shines and imbues the song with a level of legitimacy and depth–Darrow didn’t just take inspiration from traditional American music; he played it, loved it, and most of all felt it. “Hong Kong Blues”, a Hoagy Carmichael cover, ventures into more typical singer songwriter territory with just Darrow’s voice and a piano accompaniment that sounds a lot like “Sail Away” era Randy Newman. It serves as a nice contrast to the other tracks, asking the listener to take a seat and enjoy the story. “Faded Love” is a beautiful, wonderfully written tune that sounds like an a cappella Appalachian ballad that’s been graced with subtle instrumental shades of the far east. A lone forlorn flute lilts above the track, singing the bittersweet song of a broken heart. “To What Cross Do I Cling” kicks off with a riff straight from the swamps of bayou country, bringing a much appreciated, laid-back Excello vibe to the tune that could easily satisfy any gumbo cravin’. Add some Clarence White influenced tele twangin’ and you’ve got one smoking tune that goes down like a good shot of Whiskey–warm, easy, groovy.

The other standout track among the set is Darrow’s version of the bluesy old-timey standard “Don’t Let Your Deal Go Down”. This remake of the traditional American tune ends up sounding like Crazy Horse jamming with John Hartford–peppered with bluesy guitar runs, twangy telecasters, and dueling old-timey fiddles. The end result is wonderful, one of the best versions of the tune around. Coming up with a creative and compelling way to present traditional tunes can be tough for a rock musician, but Darrow’s work-up of the song is as fresh as the water from an Appalachian spring.

Of course echoes of Darrow’s previous groups abound–the old-timey depression-era string band send-up “We’re Living On $15 A Week”, which calls to mind  The Jim Kweskin Jug Band and their rural romps, makes use of one of Kaleidoscope’s favorite tropes. The end result sounds somewhat similar to “Baldheaded End of A Broom” off of A Beacon From Mars or any number of tunes by The Nitty Gritty Dirt Band. Unfortunately the album’s closing track “That’s What it’s Like to Be Alone” leaves a bit to be desired. The track kicks off with a harpsichord and ends up sounding like a mutant attempt at baroque pop that falls just a bit short of the mark.

All in all Chris Darrow is an excellent albeit overlooked country-rock record from the heart of the genre during its heyday. It is also a unique and compelling artistic statement from a wonderfully gifted musician, and stands up as one of the most interesting singer-songwriter LPs of the era. Musically speaking, a wonderful point of comparison to Chris Darrow would be Dillard & Clark’s excellent first LP The Fantastic Expedition of Dillard and Clark, the main difference being (aside from the fact that Darrow was operating as a solo musician and D&C as a duo) that Dillard & Clark created a country-rock classic by coming at the genre from the angle of bluegrass, while Darrow created his own unique country-rock statement coming largely from the angle of blues and pre-bluegrass old-timey American music. The more stripped down intimate sound of old-time and blues music lends that feeling of intimacy and suits Darrow’s songs and voice. It sounds as if his intonation and diction had been reached by years of singing traditional American songs, including a cappella mountain ballads, southern blues, jug band tunes, gospel tunes, traveling medicine show music, bluegrass and folk. Although many of the tunes on Chris Darrow contain full band arrangements, featuring contributions from a handful of wonderful musicians (including members of Fairport Convention), ultimately it is Darrow you feel the connection with–and that’s the way it was intended to be.

Sadly, copies of the album didn’t fly off the shelf like hotcakes. Maybe his music was too ambitious, too richly textured and multifaceted for some fans of the emerging singer-songwriter genre that was streaming out from the West Coast, dominating the FM airwaves and selling millions of pairs of bootcut jeans. Darrow soldiered on, providing a fine follow-up, Under My Own Disguise, that was even more deeply rooted in bluegrass and old-time music. He continued working as a session musician, playing on fine albums of all shapes and size, even hitting the road to backup players such as Linda Ronstadt and John Stewart, pausing every now and then to release an album of his own material. In 1994 young friend and neighbor Ben Harper released a cover version of “Whipping Boy” on his album “Welcome to The Cruel World” that brought Darrow and his tune a little extra attention. In 2009 Everloving Records out of Los Angeles, California reissued remastered versions of both Chris Darrow and Under My Own Disguise in a limited edition deluxe box set that includes a 48 page book and 180 gram vinyl along with copies of both albums on cd as well. This is the set to get as the packaging and presentation really does justice to the material. If you’re low on dough, a BGO twofer is available that includes both of the albums conveniently placed onto one compact disc. Enjoy

“Albuquerque Rainbow”

Vinyl Box Set | 2009 |Everloving Records | buy here ]
CD Reissue |  2008 | Beat Goes On | buy here ]
Original Vinyl | 1973 | UA Records | search ebay ]

Alain Goraguer first made a name for himself as a sideman and arranger for Serge Gainsbourg, including the arrangement for Gainsbourg’s 1966 Eurovision grand prize winning song “Poupée de cire, poupée de son”.  In 1972 he scored the bizarre and moving French language animated feature “Le Planet Sauvage,” released in the States as “Fantastic Planet.” The soundtrack blends funky psyched out jazz with gorgeous woodwind, choral, and string arrangements. There’s also a few subtle appearances by the theremin.

The main descending theme appears many times, mostly on the flute or sung by an ominous choir. The standout example of the theme is “Le Bracelet,” layering clavinet and vibes under a breathy flute, with spooky pauses thrown in. If you brave the chaotic opening of “L’oiseau”, you’ll hear some beautifully dissonant glissando strings which break into an incredible version of the main theme, this time over a major key. Tenor sax solos make brief appearances here and there and there are some songs that could be outtakes from Obscured By Clouds or Dark Side of the Moon. The solo on “Générique” would be a dead ringer for Gilmore if not for the sighing strings beneath it.

The songs which deviate from variations on the main theme are the most interesting, with “Conseil de Draags” and the breathtaking psyched out waltz “Le Fusées” definitely some of the best of the 25 songs here. The jazzy “Strip Tease” comes to life in a brilliant mix of flute and sax in the middle section, married beautifully to the animation in the third act of the film.

Perhaps because of it’s function as a film score it may come across more progressive than intended, but I think it’s that twist that allows the music to stand on it’s own. It’s masterfully written and has not one boring moment. I highly recommend watching the film at least once. And see how long it takes before you start whistling the main theme.

“Strip Tease”

Original Vinyl | 1973 | Pathé | search ebay ]
MP3 Album | download here ]

Until recently this one was completely unknown to me; I bought it after reading a glowing recommendation from a Rising Storm commenter (nice to see the process working in both directions.) Gratifyingly, it turned out to be as good as its reputation.

It’s better still for being a vanity release from a bunch of unsigned but clearly precociously talented teenagers. It was lovingly cut over six months in 1973 at the tiny 700 West Studio in New Palestine, Indiana, using a four-track 3M recorder, plenty of overdubs, a lot of homemade wine and a hell of a lot of creative ingenuity. There’s no need for me to give a detailed historical perspective of the band, the album or the studio here, because it’s all available at the excellent website dedicated to 700 West and I couldn’t improve on that compiler’s excellent job.

Interestingly, the band members chose to add colour to their 1969-British-prog-rock style songs with the techniques of 1967 psychedelia, and the album stands as a fine psych/prog artefact despite being several years behind the timeline. The fun starts with “You Never Win”, which opens with a fade-in backwards version of the closing fade-out – a simple but brilliant idea. “I Don’t Understand” launches with an eerie half-speed recording of small children’s voices, whilst the meandering instrumental heart of “Hope” is washed by shoreline effects. Much use is made elsewhere of backwards voices, backwards instruments, fade-outs, fade-ins, wild stereo panning, ring modulators, tape loops and leftfield echo effects, and even a blast from an elkhorn. However, the underlying compositions don’t rely solely on these touches for interest; the eight songs, all originals, offer an engaging variety of styles from the “Born To Be Wild” knockoff of “You Never Win” through the cosmic boogie of “Stoney Wellitz” to the lush progressive soundscapes of “Hope”, culminating in “The Piper” which appropriately recalls Pink Floyd’s earliest stoner offerings. The playing and singing are excellent throughout, especially considering the tender ages of the musicians; Herman Zerfas’s keyboards in particular are exceptional.

The word on the street among other reviewers of this album is that it’s the record the Beatles might have made if they’d stuck with the psychedelic formula after Pepper. Personally, I don’t buy this; these youthful compositions lack the distinctively whimsical signatures of the mature Lennon, McCartney and Harrison. To my ears there’s some Floyd influence, some Grape, some Dead, some Steppenwolf, some Allmans, maybe even some Steve Miller, but really such comparisons are unnecessary. This is a fine album by a fine band in its own right, and should be respected as such.

Finally, be sure to ignore the CD release by Radioactive, which is purportedly mastered from vinyl and has a poor sound to suit. The Digipak CD from Lion Records of Germany is another bootleg to be avoided.

“Stoney Wellitz”

Vinyl Reissue | 2008 | Phoenix | buy here ]

These guys any good? Is this album a good choice for a start? Where’s the sweet spot?
I need schooling on these Brothers.

“Come And Go Blues”

MP3 Album | download here ]
Orig Vinyl |1973 | Capricorn | search ebay ]
Spotify link | listen ]

Most country music is geared toward tear-in-the-beer stylings, but no other country album makes me sob into my Budweiser quite like Sold American. And not because it’s overtly sad – Kinky Friedman is a fearless humorist who turns racist rednecks and rough treatment into comedic gold – but because too much of this 1973 album still rings true nearly four decades later. In the vein of comedians like Lenny Bruce, Richard Pryor and Redd Foxx, Friedman shines a bright light on the bigoted, hypocritical underbelly of the land of the free, and uses every taboo word in the book to get the effect he’s after.

“Kinky Friedman… is on his way to becoming the first Texas-Jewish country music star,” proclaims Newsweek from the back of the album cover. And if the delicious absurdity of that statement appeals to you, the songs surely will too. ‘We Reserve The Right To Refuse Service To You’ recounts Friedman being slurred and insulted out of a “bullethead cafe” by an intolerant restaurateur. ‘Highway Cafe’ has a chorus of “oh make it a corned beef on rye” and features two rednecks recounting a fatal trucking accident with infectious dumb laughter (“AHAHAHAHA AHEEHEEHEEHEE”). ‘Get Your Biscuits In The Oven And Your Buns In The Bed’ is an anti-feminist rant the likes of which is unimaginable today, while the title track is a wistful, beautiful ballad about a fading America, that could serve as the theme song for PBS’ Antiques Roadshow. Like the rest of Sold American, ‘Ride ‘Em Jewboy’ is both lovely and ludicrous.

In 2006, Friedman mounted a serious, and seriously offbeat, campaign for governor of Texas. Campaign slogans included “He ain’t Kinky, he’s my Governor” and “My governor is a Jewish Cowboy” and Friedman qualified himself thusly: “Musicians can run this state better than politicians. We won’t get a lot done in the mornings, but we’ll work late and be honest.” He pulled a respectable 12.6% of the vote and finished fourth out of six candidates. Friedman might be a funny Jewish cowboy, but he’s a also a thoughtful, driven Texan who has made Lone Star statements like “If you ain’t Texan, I ain’t got time for you.”

Like his politics, Friedman’s music might appear silly, but it’s ultimately serious stuff. His band featured top-notch Nashville session musicians like guitarist Norman Blake and pianist David Briggs, and this music is as polished as a new mandolin. But nobody else in Nashville (or anywhere else for that matter) was singing ballads about Texas Clock Tower shooter Charles Whitman or suggesting we roll Jesus into a big fat doobie and get high on religion. Friedman’s funny, but in the end the joke’s on us – racism, mass murder, religious intolerance, misogyny, hyper-materialism. Kinky Friedman may have held his fun house mirror up to this country in 1973, but the songs remain the same…

“Sold American”

Original Vinyl | 1973 | Vanguard | search ebay ]
CD Reissue | 2003 | Vanguard | buy at amazon ]