Author Archive

The Fugs “Village Fugs”

| Folk,Pop,Punk

Village Fugs

This is also known today as The Fugs First Album. These guys weren’t really musicians, certainly not vocalists, they were beat poets and activists that wanted to be musicians. The record was made possible because their friend Harry Smith, curator of the Anthology of American Folk Music, convinced Folkways to let them record in their studio. Thank you, Harry Smith.

A classic. What we have here is not only a genuine artifact from the downtown 60s scene, but actually a pretty listenable record. The Fugs pumped up their line up for this record with Peter Stampfel and Steve Weber from The Holy Modal Rounders (pictured right), and Steve even contributed one of the Fugs most well loved songs, Boobs A Lot. Ed Sanders and Tuli Kupferberg are the real poet masterminds behind the Fugs, however, and their songs are often offensive or hilarious, concerning sex, drugs, and politics.

This album should be viewed along side another album called Virgin Fugs, which is a bootleg containing outtakes from the same recording sessions. Songs vary from stony diatribe drones to loose pop songs like Supergirl, one of my favorites. And I’ve always got a big kick out of Nothing: “January nothing, February Nothing… Reading nothing, writing nothing, even arithmetic, nothing… Harry Smith and Allen Ginsberg, Nothing Nothing Nothing.” The aesthetic of the Fugs is instant punk, not the sound particularly, but the do-it-yourself approach. The sound of Village Fugs teeters between that of a skiffle group and an amateur R&B combo. The percussion is always plentiful and varied, like they raided some restaurant’s kitchen, and Ken Weaver rounded it out on the drums.

It may not be music you put on to relax to, or set the mood, or dare to DJ with… but you have to hear it!

“Supergirl”

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The Holy Modal Rounders (self-titled)

| Pop,Psych

The Holy Modal Rounders

A damn fine record! For years, I’ve been trying to get my ears around The Moray Eels Eat The Holy Modal Rounders with limited success. It’s a totally weirded out record that kicks off with the If You Want To Be A Bird single famously featured on the Easy Rider soundtrack. The problem I had understanding Moray Eels was a lack of context – now that I’ve got my hands on this joyous and addictive little gem, I’m more anxious than ever to dive in deeper with the Rounders catalogue.

Bound To Lose: Documentary
Recently, I had the (spur-of-the-moment) opportunity to catch Peter Stampfel introduce a showing of the new documentary film chronicling his band, entitled Bound To Lose. Pete is a real eccentric with an amazing speaking and singing voice, tuneful and squawky like no other. The documentary was quite good and renewed my interest in the Rounders. Instead of uncovering many of the details surrounding the original Holy Modal Rounder recordings (1 & 2, Indian War Whoop, Moray Eels), the doc relied on footage and stories concerning the modern day Rounders. It’s hard to blame the filmmakers for this angle because they are such interesting characters and prolific artists. I highly recommend a rental for fans of the band or those looking for a pleasant introduction to this fascinating group.

You’ve got to start at the beginning, though. Their debut album, way ahead of its time, is one of the most fun records I’ve heard in a while and would spawn the genre of freak folk. The Rounders were heavy into the folk revival scene of the early 60s in NYC’s Greenwich Village and also heavy into drugs. Interestingly, their reworking of Hesitation Blues on this record featured the first recorded use of the term “psychedelic.” The tunes performed here on guitar and fiddle, or guitar and banjo, are essentially folk standards with new and often satirical lyrics. Stampfel confesses to this writing technique in the liners: “hear song, forget song, try to remember song while adding your personal wrinkles, bingo!”

There are traces of the less traditional and electric route the Rounders were headed down on originals like their “hit” song Euphoria and the catchy pop oddity, Mr. Spaceman. Most important to note, of course, are the voices. Sure to turn off casual listeners, but remarkably unique and strangely perfect. Something about their alien brand of harmony is indefinably great, and in brief little moments, truly beautiful. This record is a wonderful ride and an essential slice of music history.

“Euphoria”

Note: The debut record is packaged as a twofer including their 2nd record, pretty much every bit the equal of the first. Excellent deal ($9 digital download).

:D CD Reissue | 1999 | Fantasy | buy from amazon ]
:) Original Vinyl | 1964 | Prestige | search ebay ]

:::: Top Ten Rediscovered Gems of 2007

| Off Track

In lieu of a best reissues of 2007 list, we’ve scoured a host of popular music blogs, mostly using The Hype Machine and elbo.ws, to pin down many of this year’s most resurgent tracks. It’s always like when one of these gems finds an overdue reappraisal, proving its time-worn strength and offering hope that a perfect time and place exists for music’s true lost treasures.

10.
Flying Burrito Brothers – Sin City
I can’t figure exactly why the Burritos were back in style this year. Maybe it had something to do with their Amoeba Records live archive reissue [an aquarium drunkard] that came out this year, but every where I turned the cosmic American heroes were popping up this year, this masterful track prevalent.

9.
Harry Nilsson – The Beehive State
Between buzz from the new Nilsson documentary [aquarium drunkard] and an LCD Soundsystem cover version of Harry’s powerhouse Jump Into The Fire, Nilsson and the shandemonium shadow pole is back this year. Perhaps his 2007 prowess was spurred on by the late 2006 full album covering of Pussy Cats by a band called The Walkmen. As any of his material from any time is always stunning, and Nilsson is on in general, above is a track from the fantastic Nilsson Sings Newman.

8.
13th Floor Elevators – Slip Inside This House
The Elevators have been in vogue for a while now, but this was a great year for Roky Erickson. There was a new documentary out this year entitled You’re Gonna Miss Me and Roky performed at select showings [speed of dark] with his band The Explosives. And now just another excuse to post the official track of this blog, SLIP INSIDE THIS HOUSE (complete with artificial rising storm sfx).

7.
Pink Floyd – Astronomy Domine
The 40th anniversary of Piper At The Gates of Dawn saw a luxurious reissue [mainstream isn’t so bad], although Jason will tell you it’s complete BS to leave out demo tracks like Vegetable Man and Scream Thy Last Scream. The album was finally restored to its proper mono Syd Barrett mix and Astronomy Domine recaptured the ear of many.

6.
The Monks – Monk Time
Punk precursors and energetic experimental popsters The Monks got their due in spades [20 jazz funk greats]. Black Monk Time is as essential as it gets and maybe the only reason we haven’t reviewed it yet is its overwhelming presence elsewhere in 2007! Their fantastic single Love Came Tumblin’ Down did make our mix tape, however.

5.
The Modern Lovers – She Cracked
The Modern Lovers’ landmark self-titled debut was finally reissued in the US this year and it seemed to strike a chord [said the gramophone] with just about every blog I check. This album was recorded in 1973, amazingly sharp and ahead of its time.

4.
The Seeds – Pushin’ Too Hard
A few years ago groups like the Strokes brought back the immediate raw rock appeal of classic groups like the Velvet Underground. After a tiresome flood of Strokes copycats, the bands making a name for themselves today are smartly harkening to deeper depths in the garage and psych vein. Namely among them is therisingstorm.net’s favored modern group, The Black Lips, often pegged for their Seeds influence [gorilla vs bear]. (I also find their sound resembles that of The Outsiders.)

3.
Nancy Sinatra & Lee Hazlewood – Some Velvet Morning
Lee Hazlewood is an unforgettable music producer that passed away in 2007 [some velvet blog]. His work with Nancy Sinatra on the album Nancy & Lee is monumental and the one-of-a-kind Some Velvet Morning received much warranted attention.

2. & 1.
The Kinks – Strangers
The Kinks – This Time Tomorrow
And topping the list! The credit here must go to Wes Anderson, whose brilliant films give new life time and again to some of the best unknown gems [the yellow stereo] ever recorded. Seeing these two from Lola Vs. Powerman put to image, for me, was breathtaking; it brought to focus the emotional appeal in these tracks that had been hiding from the populous, who hadn’t even known they wanted it. From the film, Darjeeling Limited. (To new friends of this album by The Kinks, don’t miss their earlier material or the well-worth-it Muswell Hillbillies [stwof].)

**************************************************************************************
To finish off I thought I would include a few favorites that are new to me in 2007. Nothing mind shattering and totally arbitrary, but what the hell. Of course, credit for pointing the way goes to Jason, as always, so thanks Jay. **************************************************************************************

The Flatlanders – Tonight I’m Gonna Go Downtown
I’ve made a full on switch from country rock to straight up country this year, and still haven’t heard a more lonesome twang, laid back swing, or real deal perfect country record than The Flatlanders. Love this album every second [so well remembered].

Doug Sahm & Band – Is Anybody Going To San Antone
Yeah, I can’t help it with the country rock but this Doug Sahm cat can really invade your psyche. There is something so simple and familiar to each of his tunes, yet they all live fine and strong on their own. I had always thought the Sir Douglas Quintet was just another mod clone, but they are their own beast entirely. Special thanks to IV, of course, for that monster eye roll when I didn’t know who Sahm was, earlier this year!

Bobby Charles – I Must Be In A Good Place Now
This album hit me like a brick recently. It’s like a continuation of The Band with a whole new angle, so real and immediately pleasing, but continuing to stay with me.

Thanks for reading.

The Remains (self-titled)

| Garage,Pop,RnB

The Remains

This album was out of print when I initially reviewed it here, and I’ve got the old flashy yellow cover, which is a Greatest Hits collection but still a blazing hot disc. A month later their self-titled debut lp was reissued featuring the original album artwork, which is an important update. The yellow cover makes the Remains look like some novelty rock act, whereas the cover above restores their authenticity and edge. The Remains are positively one of the best rock bands you’ve never heard.

Barry Tashian and The Remains used to cook it up for Boston audiences back in the mid 60s (they were originally from Brookline), and this record, though none of it recorded live, is still proof. The beauty is in their by-the-book formula: loud rhythm guitars, electric piano, bluesy bass riffs, and most importantly, great songs.

The Remains get it started every time. But apparently they had trouble doing so for Beatles fans. The Remains toured with the fab four a short while, playing to a screaming mob who were impatiently awaiting one of the all time historic rock concerts. But the truth is, the Remains deserved all the same attention back then, and now we can give it back, for the first time in style. Will I be buying the reissue just for the packaging? Yes, I think I will.

Literally, every song on this record is good. Each one a gem so surprisingly radio friendly it’s astonishing to think we haven’t heard these before. They are quick friends with instant familiarity and appreciating resonance.

If you’d like to hear The Remains tear it apart in a live setting, check out A Session With The Remains from Sundazed, a live studio audition recording.

Barry Tashian used to play with Gram Parsons on GP and some stuff for the Burritos. Currently he is playing and recording bluegrass music with his wife, Holly.

“Time Of Day”

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Sagittarius “Present Tense”

| Baroque,Pop,Psych,Sunshine

Present Tense

Sagittarius is the project (and zodiac sign) of one Gary Usher, collaborator and friend to Brian Wilson and producer of Notorious Byrds, and the ambitious Curt Boettcher, another Beach Boys coconspirator and genius behind the legendary Begin album by The Millennium.

Basically, they are companion albums, released in the same month in 1968, where most recommend starting with Begin and expanding into Present Tense. Some will find this album a bit twee for their tastes, and it is very hard to take seriously on first listen. But a little effort in putting it on, and it won’t take long before the album reveals itself to you. I find Present Tense to be almost a little better put-together than Begin. Realize though, that you’re not going to win points pumping this album full blast; maybe this is an album for headphones on the train, or a light rainy day.

Usually, I would balk at posting a track called “Song To The Magic Frog;” I have to though as it well represents the album. The instruments are eq’d with fairy dust it seems, and nice orchestral touches. “Will you ever, will you ever know” sounds to me like a classic Curt Boettcher melody, and though this is a Gary Usher project, Curt’s prevailing influence is unmistakable. The vocals soar on “Another Time” and it’s near the top, but I promise you that it is worth growing with Present Tense and all of its loveliness.

It’s only a matter of time before some director includes some of this Curt Boettcher madness in a popular film and all this soft California sike blows up. Included here from the bonus selections is the single version of My World Fell Down, with the preserved musique concrete bridge that Clive Davis urged removed from the album version.

“My World Fell Down”

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The Carpenters “A Song For You”

| Concept Albums,Pop

A Song For You

There is always a time and place when this will be the perfect record to put on. Many could use a little Carpenters in their collection, and this hit-studded near-concept album is their best work. You have to let down your guard and forget what you know about this group; they sound a little slick, sure, but they perform good honest songs, aren’t afraid of a little humor, and that voice…

My god, Karen Carpenter slays them all. American Idol losers and winners alike have never approached this type of talent, and I always think of Karen, somehow, when comparing the wannabes. There is a flippancy in her wide range, a lazy accent or something, as she didn’t care, we’ll act formal later. Listening to her sing Leon Russell’s A Song For You, the opener on this record, has become a ritual; could anybody top this version?? I’ll take it any day, sax solo, over-the-top affected chorus and all.

The first five tracks on the record represent the stages of a love-gone-wrong relationship. You can tell just by the titles: 1. A Song For You, 2. Top Of The World, 3. Hurting Each Other, 4. It’s Going To Take Some Time, 5. Goodbye To Love. Wow, what a great set of tunes. It’s worth noting that Top Of The World went to #1 and is a great, fun song with smooth country stylings. You will most likely recognize a few of these gems from scattered radio play and other recordings.

After a goofball ‘Intermission’ we have Side B, featuring a less serious set but still top-quality stuff. Richard Carpenter gets to shine a bit on this side, with his instrumental Flat Baroque and lispy vocals on Piano Picker. Piano Picker is hilarious, I must say, an ode to Richard Carpenter’s dedication to “banging on the keys” in lieu of “playing with the football.” This is the kind of song you put on as a joke, though I can’t explain why I know all of the words.  If you want to try on some classic soft rock, this is the record for you.

“A Song For You”

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Dillard & Clark “The Fantastic Expedition of Dillard & Clark”

| Country Rock,Folk,Pop

The Fantastic Expedition of Dillard & Clark

Ya’ll said it couldn’t be done! Doug Dillard (left) and Gene Clark (right) after leaving their respective acts (Dillards and Byrds) teamed up with Bernie Leadon (Hearts&Flowers/Flying Burrito Bros/Eagles), Sneaky Pete, and Chris Hillman for the Expedition, one of the world’s greatest country rock albums, slightly ahead of its time and seriously overlooked even today.

Out On The Side, the opener, has to be one of the finest produced tracks I’ve ever heard. The drums are barely there but echo away on the fills. Not easily accessible yet so perfect, it’s a real treasure. The coda to this song, around 2:45 with the off-time drum fill, has to be one of rock’s most inspired moments. And while On The Side is worthy of intense dissection, the rest of Expedition continues to represent. A lush and laid-back bluegrass troupe owns it on She Darked The Sun, setting the tone firmly, nailed down by the straight-up Dillards feel on Don’t Come Rolling. The Gene Clark sound takes it back for the next few songs: a triumvirate of gems molding the sweet spot of the record and providing all the proof we need to declare this a legendary match-up. I love the lazy swing to Train Leaves Here This Mornin’ with the confused lyric to its chorus.

What follows has become a newgrass standard, printed in bluegrass songbooks and covered by the New Grass Revival. With Care From Someone is probably one of the first real progressive bluegrass numbers, and still one of the best. All of these songs are Clark originals excluding the well-delivered spiritual Git It On Brother (usually Get In Line Brother) and a bonus take on the Elvis number, Don’t Be Cruel. Something’s Wrong, the album’s closer, is brilliant perfect Gene Clark.

Fantastic Expedition grows better and better, undoubtedly, with each listen. It is pure joy, pure beauty, a one of a kind favorite and sort of a miracle for the genres of both rock and country. Has anybody else fallen deep for this record?

“Out On The Side”

:D CD Reissue | 2008 | Water | buy at cd universe ]
:) Original Vinyl | search ebay ]

The Dillards “Wheatstraw Suite”

| Country Rock,Folk,Pop

Wheatstraw Suite

The Dillards are a pioneering bluegrass group that got started releasing tight as hell traditional records and performing as the hillbilly band on The Andy Griffith Show during the early 60s. Their legacy has been influence to the best in bluegrass, newgrass, country and folk rock and one of their most significant contributions is kinda the Sweetheart of bluegrass, Wheatstraw Suite.

It may not be as revered or rugged as Sweetheart of the Rodeo, having a cleaner sound akin to that of the Beau Brummel’s country rock work, but it oughta’ be every bit as influential. While still present are the exquisite and precise harmonies and banjo from Doug Dillard,  added to the mix we hear orchestral parts, electric instruments and drums. These are big no-no’s in the world of trad bluegrass but the hallmarks of pop rock, but there you have it: combine this set-up with a strong set of tunes from multiple disciplines and stir for breakthrough classic status.

“Nobody Knows” is an instant winner and fell me in love with this record right away with that intricately produced Bradley’s Barn sound. There are a few silly fun numbers in “Hey Boys,” “The Biggest Whatever,” and the cowboy tune “Single Saddle.” These are the tunes that turn people off to this record, but they are good enough to be included I believe. You’ll be happy you stayed for the delicate and different “Lemon Chimes” and great poetic country song “She Sang Hymns Out Of Tune.” “Don’t You Cry” and “Bending The Strings” seriously cook. And great choices in covers from Tim Hardin and the Beatles’ “I’ve Just Seen A Face.”

“I’ve Just Seen A Face”

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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

“White Light”

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The Kinks “Are The Village Green Preservation Society”

| Concept Albums,Pop

Village Green Preservation Society

A Hall of Fame record, a go-to standby, the Kinks’ magnum opus, and a lifelong friend. Village Green Preservation Society feels like an old vinyl record no matter how digital your copy. It’s light and fun, wistful and teary, a beautiful definition of nostalgia in the form of Ray Davies’ finest work.

VGPS followed the lovely Something Else by The Kinks and took its sound a step further, presenting a selection of songs loosely dedicated to a unified idea: preservation. Whether it be in personal reflection, a photograph, or the Village Green itself, Ray longs for another time in these songs. Do You Remember Walter says it nearly best: “people often change, but memories of people can remain.” The line gets me every time.

The instrumentation features a wonderful small orchestra of happy acoustic guitar, woody drums, cheery backing vocals, and a handsome lot of subtle instrumental highlights. The songs are playful and imaginative, eternally catchy. The Kinks firmly embraced their Englishness with this album, and it sure can make an American boy feel envy! Village Green, perhaps the least accessible but prettiest, features a real orchestral string backing and brandishes a lovely chorus with pizzicato violin decorations. Other woodwinds and strings ornamenting the album are whirred from the famous Mellotron keyboard (see Phenomenal Cat).

The fold-out digipak reissue of VGPS is a dream package with 2 discs full of extra content that will surely please, but Kinks kollectors probably have much of it from rarity discs. Get this record if you don’t have it, and if you already do, put it on. This is a masterpiece from one of rock’s finest groups.

One of my favorite tracks, old-fashioned but sweet:

“All Of My Friends Were There”

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