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PODCAST 17 Classic Rock,Country

| Podcast

THE RISING STORM!!

Running Time: 51:06 | File Size 70.2 MB
Download: .mp3
To subscribe to this podcast: https://therisingstorm.net/podcast.xml [?]

PLAYLIST

1.  Going Down The Road Feeling Bad by Woody Guthrie (1944 – The Asch Recordings Vol. 1)

2.  Come See About Me by Don Covay (1965 – Mercy!)

3.  Experiment In Metaphysics by Perry Leopold (1970 – Experiment In Metaphysics)

4.  You Are My One by Michael Nesmith (1972 – Tantamount To Treason)

5.  The Bells of Rhymney by The Byrds (1965 – Mr. Tambourine Man)

6.  Go-Go Girls by Sam the Sham & The Pharaohs (1965 – Wooly Bully)

7.  Gypsy Cowboy by The New Riders Of The Purple Sage (1972 – Gypsy Cowboy)

8.  When My Baby Left Me by Sid King And The Five Strings (1956 – Gonna Shake This Shack Tonight)

9.  Out of Jail (Stevie’s Tune) by Louie and the Lovers (2009 – The Complete Recordings)

10.  Draggin the Line by Tommy James (1971 – Christian of the World)

11.  Sometime Ago (Raga Version) by The Lemon Drops (1967 – Sunshine Flower Power reissue)

12.  Down On The Farm by Big Al Downing (1958 – Rockin’ Bones: 1950s Punk And Rockabilly Boxset)

13.  Make Up Your Mind by The Spencers (1968 single – Tuff and Stringy Sessions: Clarence White)

14.  Lost by Lowell George & The Factory (1966 – Lightning-Rod Man compilation)

15.  Crack In Your Door by Little Feat (1971 – Little Feat)

16.  Here We Are In The Years by Neil Young (1969 – Neil Young)

Morning “Morning”

| Americana,Country Rock,Psych

Morning

Morning’s debut was released by Vault in 1970.  Thankfully, Wounded Bird Records has reissued this long lost album for the first time on cd.   Morning is full of dazzling performances, making it one of the mandatory LPs in the rural-rock/American roots/country-rock field.  While CSNY, Poco, and Band influences are unavoidable, this record is by no means derivative.  The band had its roots in several interesting 60s pop/garage bands, Wind and Moorpark Intersection being the most notable. These two groups would release a few decent 45’s in the late 60’s that are well worth tracking down.  The debut lineup looks something like this:  Barry Brown (guitar/drums/vocals), Jim Hobson (piano/organ/vocals), Jay Lewis (guitars/banjo/vocals), Jim Kehn (drums/guitar/vocals), Bruce Wallace (electric bass/string bass), and Terry Johnson (guitar).

Morning opens with “Angelena,” a rural rocker with heartfelt vocals, gospel tinged keyboards, and an appealing wide open, outdoor sound.  “Time,” another great track, is similar in feel and style, augmented by rich keyboards and moody vocals.  Both tracks are vaguely reminiscent of the Band’s early work – definitely a good thing here.  While country-rock/rural-rock may be the group’s main forte, Morning managed to record a few good psych tracks for their debut.  “Sleepy Eyes” stands out as their best piece of pure psychedelia.   Dreamy, with excellent dive bomb fuzz guitar work and lazy harmonies, this cut is great listening.  It’s amazing these guys never found any sort of success, whether it be underground or top 40.  Other winners are the beautiful CSNY-like country weeper “Dirt Roads” and the superb country-rocker “Roll ‘Em Down,” which sounds like it could have easily been a top 40 radio hit.  Every track on Morning has something to offer, whether it beautiful harmonies or fluid West Coast-style guitar leads, it all sounds terrific – including the group’s sharp, professional songwriting.  Also, while many of these tracks are quiet and tranquil, the band were definitely skilled musicians as heard on the tight group jam “And I’m Gone.”  If you’ve worn out copies of Pickin’ Up The Pieces or Deja Vu be sure to snatch up Morning, it’s a near lost classic with plenty of great songs to spare.

With a little effort and some luck, good original copies of Morning can be found cheap.  I spent $15 on a NM original copy of this LP (to my knowledge they never made another vinyl repress) – it sounds great on the turntable!  Morning would release an accomplished sophmore effort, Struck Like Silver that is also highly recommended.  For more information please check out Nick Warburton’s excellent essay on the band.

“Sleepy Eyes”

Early band Moorpark Intersection included future Morning members Jay Lewis, Jim Kehn and Terry Johnson.   Below is their 1968 Davide Axelrod produced single “I Think I’ll Just Go And Find Me A Flower.” This track can be found on Soft Sounds For Gentle People Volume 1.

:D CD Reissue | 2009 | Wounded Bird | amazon ]
:) Vinyl | 1970 | Vault | ebay ]

Loudon Wainwright III “Attempted Mustache”

| Americana,Folk

attemptedmustache

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 ]
8-) Spotify link | listen ]

PODCAST 16 Garage.Country

| Podcast

THE RISING STORM!!

Running Time: 44:51 | File Size 74.5 MB
Download: .mp3
To subscribe to this podcast: https://therisingstorm.net/podcast.xml [?]

PLAYLIST

1. Buy For Me The Rain by The Nitty Gritty Dirt Band (Alive – Live 1968-)

2. The Brand New Tennessee Waltz by The Everly Brothers (Stories We Could Tell – 1972)

3. Man From New Orleans by Swampwater (Swampwater – 1970)

4. Dear Betty Baby by Mayo Thompson (Corky’s Debut To His Father – 1970)

5. Blue Velvet Band by Hasil Adkins (Moon Over Madison -2005 but recorded in 1956-1963)

6. Around The Town by Gino Washington (Out of This World cd – 1960s)

7. Never Knew I Had It So Bad by Thee Midniters (Unlimited – 1967 – Thee Midniter’s boxset)

8. It Must Have Been The Wind by The Fun and Games (Elephant Candy – 1968-)

9. Say Goodbye To John by Pisces (A Lovely Sight – 1968/1969)

10. Long Tall Sally by Jerry Lee Lewis (Live At The Star Club 1964)

11. No Reason To Complain by The Alarm Clocks (Back From The Grave Vol. 1 – 1966)

12. Boy In The Sandbox by The Michael Yonkers Band (Microminiature Love 2003 but recorded in 1968-)

13. My Friend by the Steve Miller Band (Sailor – 1968-)

14. I Just Don’t Know How To Say Goodbye by Sandy Salisbury/Millennium (Sandy Salisbury – 1969)

15. Occasional Rain by Terry Callier (Occasional Rain – 1972)

16. Smug by The Youngbloods (Elephant Mountain – 1969)

17. Sign On The Cross by Bob Dylan and The Band (Genuine Basement Tapes Vol. 3 – 1967)

John Drendall, B.A. Thrower and Friends “Papa Never Let Me Sing The Blues”

| Americana,Country Rock,Psych

Papa

There are enough good vanity pressings from the late 60s – mid 70s that make record collecting a rewarding interest.  The really good ones (the Bachs, the Rising Storm, Wilson McKinley, Relatively Clean Rivers et al) are far and few between.  Most of these records, while musically very good, are overpriced because so few quantities were initially pressed.  Please be warned though, most private press albums are average at best – I’ve been disappointed many, many times.  So naturally, when I bought the Riverman Music version (a Singpore cd reissue) of John Drendall, B.A. Thrower and Friends’ Papa Never Let Me Sing The Blues I was somewhat unsure of its quality, in other words, a skeptic.

Deacon Productions released 100 copies of Papa in 1971/1972.  Both John Drendall (vocals/guitar) and B.A. Thrower (bass guitar/electric guitar/organ) lived on the campus of Michigan University in Lansing.  The two eventually moved into a suburban house with a spacious garage.  This garage was turned into a studio where the group practiced hours on end.  Eventually Drendall and Thrower found a studio in Kalamazoo that would record their experiments.  Friends Tommy “Stiff Finger Eddie” Caruso (slide guitar), Mike “Elmo” Skory (keyboards), Vern “The Bopper” Albaugh (flute), Nelson Wood (harp), Jimmie Spillane (backgrounds), and Ross Maxwell (bells and anything else) add many valuable contributions to the album.  The music is very fine Americana, a true undiscovered gem that needs to be heard by more music fans.

The performances on Papa sparkle with a true level of professionalism.  Drendall, Thrower and their “Friends” are all excellent musicians, the songwriting is stellar, and the production sounds top notch – on par with a major label rock group.   Those of you who enjoyed Euphoria (the Texas country-rock group), Crazy Horse, and Everybody Knows This Is Nowhere era Neil Young will fall for this record in a big way.  One of the songs on Papa, “Old Man Gibbs,” sounds like an early Neil Young number in that it’s a great rootsy rocker with stoned electric guitar work and burnt out lyrics.  The album opener, “Cold Nite in August,” stands out as the album’s most blues oriented cut,  6+ minutes of laid back country-blues that’s well worth hearing.  Other highlights are the title track and “Get Too Heavy,” both acoustic gems that feature solid guitar picking and in the case of the latter, good, close harmonies.  Even the psychedelic numbers, “Black River Lady” and “I Feel” are fabulous mood music that conjures up a spacey atmosphere more in line with the late 60s.  My favorite tracks are the nifty country-rocker “Bye Bye Mr. Jones,” with its amusing group dialogue and the great “Throw Off Your Troubled Past.”  This last number features frantic guitar work (the guitarist really shreds up the fretboard on this one) and busy percussion; it’s really a treat to hear these last two numbers.  The album as a whole is uniformly strong and a must hear; not a bad cut on this LP.

So once again, Papa is a very accomplished work that should have been reissued years ago.  There’s been plenty of great reissues in 2009 but Papa is one of the best I’ve heard so far.

“Get Too Heavy”

:D CD Reissue | 2009 | Riverman | amazon ]
:) Vinyl | 1972 | Deacon | ebay? ]

The Jelly Bean Bandits (self-titled)

| Garage,Psych

Jelly Bean Bandits

The Jelly Bean Bandits were the premier teen freaks of New York’s Hudson Valley; just look at them on the LP’s great front cover!  Most of the group members hailed from the Cornwall/Newburgh/New Windsor area, packing local night clubs regularly: New Windsor’s Trade Winds, Poughkeepsie’s Buccaneer Nightclub, and Burlington, Vermont’s Red Dog.  Bob Shad’s Mainstream label released their only album in 1967.

Some collectors refer to the album as a psych punk cult classic and I’d have to agree with them.  Originally known as the Mirror, the Bandits signed a three album deal with Mainstream on the strength of a three song demo.  They had one week to write the album’s songs, which would eventually be recorded in a 12 hour stretch at Columbia’s Studio “A”.   There’s lots of greasy rock n roll to be found on the Jelly Bean Bandits’ sole offering.  Tracks like “Tapestries”, “Say Man” and ‘Plastic Soldiers” are full of trippy organ work and the occasional sound effect but for the most part this LP is more garage than psych.  “Generation” is probably the album’s classic cut and has been featured on the popular garage compilation, Pebbles.  This menacing garage rocker has searing feedback and distortion, snotty vocals and thunderous drums.  I can live without the one jugband tune but overall everything else is pretty good.  For my money the best tracks are “Happiness Girl”, “Neon River” and “Poor Precious Dreams”, three terrific garage punkers with plenty of attitude and fiery guitar/organ interplay.  So overall, The Jelly Bean Bandits is one of those garage platters that’s definitely worth owning.

“Salesmen” and “Superhog”, two late 60’s outtakes that are in more of a psychedelic vein have been comp’d on Psychedelic Crown Jewels Volume 2 and Psychedelic States: New York Volume 1 respectively. The Mainstream album has been reissued on both vinyl and cd as well.

“Happiness Girl”

:) Vinyl | 1967 | Mainstream | search ebay ]
;) MP3 Album | download at amazon ]
8-) Spotify link | listen ]

The Enfields/Friends of the Family

, , , | Garage,Psych

The Enfields and early Friends of the Family

The Enfields were one of the countless garage bands competing for airplay in the 1960s. They released a series of quality local 45s before morphing into the more progressive Friends of the Family, of which by that time, principal songwriter Ted Munda was the only surviving member. The Enfields hailed from Wilmington, Delaware, where they were unquestionably the area’s top group.

“In The Eyes Of The World” was their first Richie 45 released in late 65/early 66. This track is really a teenbeat gem with the great reverbed hollow-body guitar work of John Bernard and plenty of ghostly harmonies via Ted Munda and Charlie Berl. “In The Eyes Of The World” did not have a B-side but sold well locally, making Wilmington’s top 40 and established the group as a force to be reckoned with. The Enfields’ next number, “She Already Has Somebody/I’m For Things You Do” was a #4 local smash and perhaps their finest moment on vinyl. Very similar to the Dovers’ material from around the same time, “She Already Has Somebody” is a minor key folk-rocker with solid hooks, lots of nervous energy and fine guitar work. By the release of their third single the Enfields began branching out into harder, more aggressive sounds. “Face to Face,” another near classic from 1966, opens with a toggle switch guitar sound (probably influenced by the Who), features tough Taxman-like riffs and a brief psychedelic guitar solo. The single’s A-side, “You Don’t Have Very Far” is musically very strong but represents somewhat of a throwback to the 1965 folk-rock sound. This is definitely a “must own”45 from 1966!

After the Enfields broke up in 1967, Ted Munda formed Friends of the Family. He recruited Wayne Watson and Jimmy Crawford from local group the Turfs. They released one disappointing 45 in 1968 but thankfullly made it into the studio for two recording sessions. Munda and his new group recorded throughout 1967 and 1968, amassing about an album’s worth of material (11 songs). While these recordings barely reached the demo stage, the music is accomplished and worth your time. Tracks like the excellent “Last Beach Crusade,” “Together” and the 6 minute “Hot Apple Betty” are progressive and sound like a jazz influenced Left Banke. These three tracks were recorded in 1968 and show the Friends experimenting with lots of keyboards, challenging guitar solos, Zombies/Beatles’ influenced vocals and complex song arrangements. “Funny Flowers,” one of the earlier songs recorded in 1967, is just as appealing but more song-based (jangly folk-rock). “You See I’ve Got This Cold,” another highlight from the 1968 sessions, is a personal favorite that reminds me of Frank Zappa’s Mothers of Invention. It’s full of psychedelic weirdness; check out the bizarre lyrics, tinkling piano, and trippy wah-wah. The band forged on into late 68 opening for The Who and Pink Floyd at the Philadelphia Music Festival. Eventually, Friends of the Family broke up and some years later Ted Munda formed Hotspur, who released an album on Columbia in 1974.

The best way to hear the Enfields/Friends of the Family saga is through Get Hip’s superb 1993 cd reissue, Classic Sounds of the 60s. Normally a patchwork reissue like this doesn’t work but Ted Munda rarely recorded anything bad, making The Enfields/and early Friends of the Family a very impressive release.

Update: Ted Munda is currently seeking financing to record a new album of original material. Get in touch with Ted here.

“In The Eyes Of The World”

:D CD Reissue | 1993 | Get Hip | at Get Hip | at amazon ]
:) Original Vinyl | search ebay ]

The Bobby Fuller Four “I Fought The Law”

| Americana,Pop

I Fought The Law

The Bobby Fuller Four were an amazing Texas combo, one of the best pure rock n roll groups ever .  They were an anomaly in the mid 60s, a classic group who enjoyed top 40 hits throughout the British Invasion – a movement that nearly swallowed most American competitors whole and rendered the 50s style rock n roller irrelevant.  Few rock titans possessed the raw talent and drive of Bobby Fuller; he could write songs ready made for the radio, was a fine lead guitarist and early on, he produced his own records.   Fuller was also the owner of a teen club and various independent record labels, a true rock n roll entrepreneur from the genre’s early days.

Early on Fuller recorded in Texas for vanity labels Yucca, Eastwood, Exeter, and Todd.  It was during this early period (early 60s) that he was known as “The Rock N Roll King of the Southwest,” a crown he wore with pride.  In the mid 60s, Fuller relocated his group to California and recorded two albums for Mustang with Bob Keene producing.  I Fought The Law is probably the Four’s crowning achievement.  It’s a consistent record that saw Fuller shed his Buddy Holly influences and blossom into a first rate artist.

The album is known for its pounding top ten smash (and rightfully so) “I Fought The Law,” a classic outlaw anthem written by Sonny Curtis and recorded earlier by the Crickets (minus Buddy Holly).   Surely one rock’s best ever singles, this track was also a nod to Fullers’ 50s roots; the Bobby Fuller Four were perhaps the first group that borrowed from rock’s genesis or origins, the 1950s, and created a new style known as roots rock.  Other tracks are just as good, however.  “Never To Be Forgotten” is perhaps Fuller’s finest creation, with its propulsive fuzz bass (Randy Fuller played bass and was constant in an ever changing lineup), soaring vocals and vibrant tex-mex strumming.  I’ve never heard anything like it and in a weird way it manages to mix proto country-rock, tex-mex, and sunshine pop into a stunning musical statement (the production on this one is immaculate too).  Other tracks like the charging “Julie” and the Eddie Cochrane influenced “Saturday Night” are near classics that proudly display Bobby Fuller’s obsession with 50s style rock.  My favorite track, “Fool of Love,” was initially cut in 1964 as a single for Exeter during Fuller’s Texas Tapes era.  The Mustang version heard on I Fought The Law is something of a lost classic that’s a bit more polished and jangley when compared to the earlier Exeter single.  Other notables are “Let Her Dance” (a minor chart entry) and “Only When I Dream,” two great pop tracks with hooks galore and superb vocals.  These tunes compare favorably with Brian Wilson’s creations from around the same time;  “Let Her Dance” and “Only When I Dream” could have easily found a home on the Beach Boys’ Today album.  All tracks were written by The Bobby Fuller Four (mostly Bobby Fuller), quite an achievement for 1965.

Originals are expensive ($50-$100), which is suprising for a record that really isn’t rare and sold pretty well.  There are two cd versions of I Fought The Law, one by Ace (a twofer with KRLA King of the Wheels ) and the other on Never To Be Forgotten: The Mustang Years, an excellent box set.  There’s even a nice vinyl Mustang repress that’s easily available and highly recommended.

I Fought The Law was Bobby Fuller’s last LP before his tragic death and for this reason it remains a vital purchase.  More importantly, Fuller started to sound like himself; he was really coming into his own as a songwriter and creative force around the years of 1965/1966.  Check out the last Bobby Fuller Four single too, “My True Love” (B-side), for proof of Bobby’s growth as an original artist.  Real rock n roll lasts forever and nobody did it better than the Bobby Fuller Four.

“Only When I Dream”

:D CD Reissue | search amazon ]
:) Original Vinyl | 1966 | Mustang | search ebay ]
8-) Spotify link | listen ]

Swamp Dogg “Total Destruction To Your Mind”

| Pop,Psych,RnB,Soul

Total Destruction to your Mind

One of the best underground/unsung soul albums I know of.  Prior to Total Destruction To Your Mind, Swamp Dogg had been recording music and releasing 45s since the 50s, under the name Jerry Williams (or Little Jerry Williams).  Frustrated by the lack of commercial success, Williams changed his name and persona and in 1970, unleashed Total Destruction To Your Mind on an unsuspecting world.  While those early Calico 45s are a fine musical legacy, the above album saw Swamp Dogg hit on something totally new: a very original brew of R&B, funk and rock n roll that still sounds fresh today. Without doubt he delivered a true soul classic.

Total Destruction To Your Mind was originally released by Canyon.  Swamp Dogg’s eccentric nature, blunt lyrics, and gruff vocals make it stand out from the commercial soul of the day.  His style is really individual and authentic, which makes drawing comparisons so difficult.  Think of a more eccentric Curtis Mayfield or a less lysergic Sly Stone with the occasional Stax horn arrangement – but even this description does the man no favors.  The title cut is a classic, probably one of Dogg’s best known numbers.  This track opens the LP and is best described as psychedelic soul rock, featuring wah wah, loud horns, funky guitar riffs, piano, and cryptic lyrics.  Also of note are the fine contributions from guitarist Jesse Carr and drummer Johnny Sandlin; they provide structure and sanity on this great chuggin’ funk rock gem. “Redneck” (written by Joe South) and the excellent “Sal-A-Faster” are similar funk numbers that feature great beats, classic horn arrangements, and controversial lyrics.  Other goodies are the Bob Dylan influenced “Synthetic World,” notable for its cerebral organ and the soulful, psychedelic worldplay of “Dust Your Head Color Red.”  The album closes most unusually with “Mama’s Baby, Daddy’s Maybe,” a great blues number that took me by surprise.  Swamp Dogg wrote 9 of the 12 songs featured on this LP.  Regarding the 3 covers; there are two great Joe South numbers which Swamp Dogg interprets brilliantly and then there’s “The World Beyond,” a killer soul ballad with nostalgic lyrics (written by Bobby Goldsboro).

Again, Total Destruction to Your Mind never gained any commmercial notoriety or widespread acceptance but this should in no way discourage you from buying the 1996 cd reissue (which also adds the excellent Rat On LP from 1971) by Swamp Dogg’s very own S.D.E.G. Records.  Swamp Dogg always did things his own way and thats what makes Total Destruction to Your Mind such a special release.

“Sal-A-Faster”

:D CD Reissue | 2fer | 1996 | SDEG | amazon ]
;) MP3 Album | 2fer | download ]
:) Original Vinyl |  1970 | Canyon | ebay ]

PODCAST 15 Coal tattoo

| Podcast

THE RISING STORM!!

Running Time: 44:51 | File Size 61.6 MB
Download: .mp3
To subscribe to this podcast: https://therisingstorm.net/podcast.xml [?]

PLAYLIST

1. You’d Better Think Twice by Poco – Deliverin’ (1971)

2. Cat Man by Gene Vincent and the Blue Caps – S/T (1957)

3. Coal Tattoo by Billy Edd Wheeler – Love (1971)

4. They Can’t Hurt Me by The Lyrics – Back From The Grave Vol. 1 (1965)

5. Goodbye To Mary Jane by Mike and the Ravens – Nevermore (1963)

6. The Stones I Throw by Levon & the Hawks – A Musical History/Box Set (45 from 1965)

7. Be A Friend by The Morning Dew – No More 1966-1969 (45 from 1967)

8. Waiting For Something by The Tokens – Intercourse (1968-)

9. Hey Porter by Johnny Cash – With His Hot and Blue Guitar (bonus track of 1955 45)

10. Be My Girl by The Rationals – Think Rational/Fan Club LP (1966)

11. Seasons Change by Jerry Jeff Walker – Five Years Gone (1969)

12. Come Tomorrow – Kenny and the Kasuals – Things Gettin’ Better/Nothing Better To Do (1966)

13. Sunny Day Blue by Fargo – Fading Yellow 6/Fargo lp (1968-)

14. Get Your Rocks Off by Bob Dylan and the Band – The Genuine Basement Tapes Vol. 2 (1967)

15. Jailhouse Rock by Dean Carter – Call of the Wild (from 1967 45)

16. Train Song by the Flying Burrito Brothers – Hot Burritos Anthology (45 from 1969)