Note: Today’s post comes from dk, author to one of the finest vintage music blogs around: dk presents. Don’t miss subscribing over there and look forward to some more Storm reviews from dk in the future.

The story of Mac Gayden’s Skyboat is one of bad promotion, bad cover art, and bad luck. Gayden was a top-notch Nashville session guitarist who made an uncredited appearance on Bob Dylan’s Blonde On Blonde, played the distinctive slide guitar on J.J. Cale’s ‘Crazy Mama’, and wrote hit songs such as ‘Everlasting Love’ (part of which he claims to have written on his grandmother’s piano when he was just five years old). This 1976 album is a pleasing amalgamation of many 70’s musical styles – country rock instrumentation, soulful vocals, pop sheen (string charts courtesy of Bergen White), and an overall singer-songwriter sensibility. Wedged stylistically between Cat Stevens and Poco, Skyboat should have been Gayden’s breakthrough.

Instead, paint-by-numbers promotion men in Los Angeles saw a Nashville artist and assumed Skyboat was a country record, which it most definitely is not. By pushing this album as country and sending it out exclusively to country stations, ABC Records effectively ensured its doom. And there’s no way to put this kindly – that album art is atrocious. The awkward creature flying across that cover is in no way representative of the 11 highly-polished cuts on this record, and certainly didn’t help its cause.

Opener ‘Morning Glory’ has hit written all over it. One of the great lost tunes of the ’70s, this song is so good that you’ll sing along the first time you hear it. Gayden shows off his considerable guitar chops in two places on this song, but particularly on his solo near its conclusion. Sublime stuff. ‘Gettysburg’ is a stirring, minor-key, banjo-tinged ode to the South that was recorded in a thunderstorm and sounds like a blueprint for Will Oldham’s career. Gayden lays down his own version of ‘Everlasting Love’ (since covered by nearly everyone, including U2), which ironically might be the least heard of the many versions in circulation. Elsewhere, ‘Don’t Look Back’ is a bold re-wiring of a Temptations’ song that makes perfect sense in this context, and ‘Diamond Mandala’ closes the album with 10 minutes of Appalachian fever dream that conjures Sandy Bull, Aaron Copland and Native American spirit dances.

Gayden told Mojo magazine in 2002 that “By the time [radio] realized the album [wasn't country] it was too late, and many stations refused to play the record because of ABC, not because of me. It put an end to my career… so I do have some bittersweet memories.” The memories might be bittersweet, but the music is pure nectar…

mp3: Morning Glory
mp3: Gettysburg
mp3: Everlasting Love

CD 2fer | 2008 | Big Beat | buy at amazon ]
 Orig Vinyl |  1976 | ABC | search ebay ]

As I’ve posted over at AD , there’s a new issue of Phonography out. Here’s how R. Stevie describes Sundazed’s latest pressing:

“Premier. the audiophile pressing is shocking. pure warm loud lo-fi sound – zero vinyl surface detection. no turntable rumble, not one tick or pop, no static cling even. absolutely total quiet. and especially in the more silent passages. kinda hard to believe. it’s magic….don’t think it’s EVER sounded this good. A+++”

We love this record + luckily Sundazed got us a free LP to give away to a Rising Storm reader, SIGNED by R. Stevie himself. To enter for a chance to win, just leave a comment below (with a working email address). While you’re at it, tell us what’s your favorite cult classic, lo-fi, d.i.y, home-taped artist, album, song or anything (besides Stevie of course).

mp3: I Not Listening

HD Vinyl | 2010 | sundazed ]

During the early ’60s folk revival, The Kentucky Colonels were the hottest pickers around, for a minute. Led by brothers Roland White and Clarence White, in 1964 and ‘65 they released their knockout instrumental record, Appalachian Swing!, and recorded some astonishing live performances, largely showcasing Clarence’s cutting-edge crosspicking and Roland’s speedy work on the mandolin. By 1965, Clarence was moving on to electric sessions, later joining Nasvhille West and The Byrds and Roland would soon join Bill Monroe’s Blue Grass Boys, followed by Lester Flatt’s Nashville Grass.

On this 1976 release (three years after Clarence’s tragic death) Roland doesn’t quite abuse his mando like he did in the Colonel days, but instead turns out a wonderfully laid back collection of old-timers and gems from a well-steeped knowledge of bluegrass history. Alan Munde, Kenny Wertz, Roger Bush, and Dave Ferguson join Roland on a deeply traditional set, but one that digs up some of the lesser known tunes by Monroe (“Can’t You Hear Me Calling”), the Carter Family (“The Storms Are On The Ocean”), and Lester Flatt, whose “Head Over Heels In Love With You” appears on a White record for the first time since the brothers released their very first single, back when they were The Country Boys.

“Powder Creek” is the one original, an instrumental fiddle-tune written by Clarence and Roland in 1963 (on the Jersey Turnpike!), and recorded for the first time here. One of my favorite cuts is the previously unreleased bonus track, a smooth take on “She’s Her Own Special Baby” by songwriter, John Hadley (who also contributes “Doorstep of Trouble” and another fine one, “Same Old Blues Again”). Roland gives the standards one clean swoop in his eight-minute “Marathon,” a medley coasting through classics like “Love Please Come Home,” “Nine Pound Hammer,” “and “Shackles and Chains.”

What this album may be missing in ‘hot licks,’ it makes up for tenfold in charm. Released for the first time on CD from Tompkins Square, this has been spinning back to front in my old ride on these early summer days; a relaxed, endearing effort from a legend in his own right. The perfect kickoff to bluegrass season. Time to get pickin.

mp3: Kansas City Railroad Blues
mp3: She Is Her Own Special Baby

CD Reissue | 2010 | Tompkins Square | buy from amazon ]
Original Vinyl | 1976 | Ridge Runner Records | search ebay ]

R. Stevie Moore, with hundreds of albums under his belt – most of them home-recordings released on hissy cassette tape and hand-marked CD-R – is an unrecognized genius. Born in Nashville, son to session man and Elvis’s bass player Bob Moore, Robert Steven Moore grew up in the music business. Opting to make it on his own with the reel-to-reel instead of working sessions, his dedication to independent recording has yielded troves of unaffected, wildly original music. He recently told Vanity Fair: “I’ve worked harder than anybody to become rich and famous, but I remain poor and anonymous!”

Phonography was Stevie’s first official long player, recorded from 1973 to 1976 and originally released in 100 copies on the artist’s private Vital Records. Comes with lo-fi, direct input, overloaded electric guitar, a classical approach to warbly analog synth arrangements, hi-pitched erratic vocals, oddball skits that are genuinely funny, and an exceptionally fine gift for pop songcraft. Within a few listens you’ll hear traces of Brian Wilson, The Mothers, Gary Wilson, Daniel Johnston (especially on goofball cuts like “Goodbye Piano”), and Ariel Pink, a big fan who had R. Stevie open up his recent tour.

The opener, “Melbourne,” sets an unexpected stage: an anthemic introduction on an Elka synthesizer. Then Stevie shares a few words about his background whilst taking a piss!  The album is schizophrenic, but wonderfully listenable, even through a thick wall of magnetic tape. The beauty is in the fidelity, Moore recognizes what’s special about home recordings, and the record’s flow is engaging rather than plain weird.

This phenomenal record is finally available on vinyl again, remastered by Sundazed from R. Stevie’s original reels with the restored Vital artwork and insert. Earlier this year a CD version was reissued by Recommended Records in the UK and it’s available on iTunes as well.

Phonography is a record like no other, and merely an introduction to the incredible world of R. Stevie Moore. Find more than you could ever handle at rsteviemoore.com.

“I Want You In My Life”

CD Reissue | 1998 | Flamingo | rsteviemoore.com ]
MP3 Album | download at amzn ]

This is a special record. If you can’t figure that from the amount of online chatter, user reviews and critical reviews declaring Have Moicy to be one of the best records of all time, or at least proclaiming some kind of undying allegiance (Moicy made the New York Times’ top 20 LPs of 1976), you’ll get it falling in love after just a couple spins. Count me in on the converted! Sometimes I fall so deep for a record that listening to the music isn’t enough, I wish I could touch or hold the sound itself. If it were possible, Have Moicy would get a hug.

A collaborative and joyous meeting of out-there minds, the founders of freak-folk hadn’t lost a touch of steam by 1976. Michael Hurley, known by fans as Snocko (see his official homepage), was a Folkways recording artist while Peter Stampfel was one half of the Holy Modal Rounders, Steve Weber absent from these sessions. This would be Jeffrey Fredericks and the Clamtones’ first official recording but all were essentially part of the Rounders family, and best of all, Have Moicy! is merely a gateway into the fine solo recordings of all the artists involved.

Stampfel’s numbers drive with clawhammer banjo, washboard and ratchety percussion, an unconcerned fiddle and mandolin leads. Half the songs are electrified with pre-Meat Puppets unaffected treble licks in interlocking rhythms. The players never fill too much space, giving each instrument enough breathing room to act as genuine ear candy. The band somehow converges to create a clean renegade folk constantly teetering on the edge of chaos. Some undefinable bit of magic holds it all together. The tunes have unserious and silly lyrics but are never overtly comical or embarrassing, just fun, unpretentious, and honest folk music.

It’s impossible to pick two standout tracks from such a solid lineup. If you like what you hear, don’t delay in grabbing the 1992 reissue or the mp3 download, you won’t be disappointed. Every tune is positively great, and for the initiated, few other records will bring as much cheer.

“What Made My Hamburger Disappear”

CD Reissue | 1992 | Rounder | buy from rounder | amazon ]
Original Vinyl | 1976 | Rounder | search ebay ]
MP3 Album | download from amazon ]