Author Archive

Ron Elliott “The Candlestickmaker”

| Americana,Classic Rock,Psych

Now here’s a record that, for all practical purposes, should not be this obscure. In fact, I’m often taken aback at how many Beau Brummels fans aren’t even aware that Ron Elliott, said group’s guitarist and songwriter, ever cut a record on his own. Fortunately, however, Collector’s Choice saw fit to remind the world a few years back and reissued 1970’s The Candlestickmaker, which would prove to be Elliott’s one and only record.

The music here is beautiful. Mining a deep spiritual vein that was only hinted at in the last two Beau Brummels records (on 1968’s Triangle, in particular) Elliott’s vivid word craft and west coast roots are bolstered by the musicianship of such luminaries as Chris Ethridge, Bud Shank, Ry Cooder, and Mark McClure. Elliott’s voice is a marked contrast to Sal Valentino’s tremulous purr, boasting a rich depth that calls to mind that crown prince of Americana, John Stewart. Interestingly enough, this entire record makes me think of the dense, rocky wildernesses of the Pacific northwest. Maybe this has something to do with how the overall sound of the band is rather sparse, while managing to invoke a richly woven sound. Even the orchestral arrangements of Bob Thompson convey an organic and understated character.

When a record only holds five songs, it seems ridiculous to pick highlights, but All Time Green and the gently flowing train song Deep River Runs Blue really are absolutely beautiful. Mark McClure’s sharp, spidery guitar lines on the former, while Ry Cooder’s distinctive slide work on the latter blends majestically with either Elliott or McClure’s burbling wah guitar. Meanwhile, Bud Shank’s flute marks the mellow jazz folk of Lazy Day, and Leon Russell’s subtle brass arrangements drive To the City, To the Sea. Each of these little touches make the songs both memorable and distinctive.

The magnum opus here, however, is clearly the fifteen minute long title track. As Elliott suggests in Richie Unterberger’s liner notes, the song has a healing quality to it. The lyrics build on what seems to me to be a driving theme throughout The Candlestickmaker: man’s struggle to break through the cold iron landscape of modern capitalist society and rediscover a free, wild America. Arguably a common theme in the early 1970s United States, but rarely one so eloquently presented. The music never once falters: Ethridge’s bass runs warm and melodic, while McClure’s guitar craft truly sparkles as it trails around Elliott’s words. Indeed, McClure proves himself to be one of the greatest revelations, and his grace on his instrument draws me towards exploring his own work further.

“All Time Green”

:D Reissue | 2003 | Collector’s Choice | buy here ]
:) Original | 1970 | Warner Bros | search ebay ]
8-) Spotify link | listen ]

Randy Holland “Cat Mind”

| Americana,Country Rock,RnB

There are many different kinds of records. Some latch onto you almost immediately and either stand the test of time or else slip away as easily as they came. Randy Holland’s 1972 album Cat Mind is the other kind; those unusual and sometimes uneven records that take more than one listen to fully appreciate. Released on the independent Mother Records label, it can probably be said that Cat Mind never had a chance at real commercial success. But hell, we’re not interested in the commercial success here “ we’re after good records, wherever they ended up and in whatever condition. And Cat Mind is a good record.

Looking at that stark, black and white cover shot you’re probably expecting a good deal of grit here, and the opening cut doesn’t disappoint in that department. The off-kilter flower child stomp of Bless the Naked Days also wastes no time introducing the listener to Holland’s rough and nasally voice; a voice which he tends to push to the limits, and often far beyond. Depending on where you’re coming from, I reckon this could either be an acquired taste or a real attraction.

Following this first number, Colors of Sad is bizarrely saccharine, and it’s this vivid contrast between wildness and melancholy which perhaps defines this record more than anything else. Holland tilts mercilessly between incisive, jagged rock and roll numbers and melodramatic country cuts, with very little sense of transition or artistic compromise. His uncredited backup band really shines, especially on the former, where they lay down some of the most righteous country-stained rock this side of
Wray’s Shack Three Track. The hot swamp growl of Muddy Water is a real highlight, as is the weird title track, graced with scorching Davie Allan-style guitar work and an insistent rhythm section. Holland’s forays into the tamer side of Americana are more hit-and-miss, giving us both the warm and gentle Ladybug and an unfortunately overwrought reading of Mickey Newbury’s Remember the Good.

Fortunately, however, even the most underwhelming cuts are outweighed by the grittier numbers, and the overall quality and unique character of Cat Mind really does warrant it the kind of reissue treatment afforded so many other lost jewels of the period, such as Vernon Wray’s Wasted. As it stands, it isn’t all that hard to track down a used copy for a decent price. And what ever happened to Randy Holland? From what it looks like, he retired his attempts at making it in the music scene not long after cutting this record and moved to Las Vegas, where he opened an art gallery and devoted the rest of his days to painting and poetry. He passed away a few years ago, truly making this his one and only album.

“Muddy Water”

:) Private | 1972 | search ebay ]

Richard and Mimi Fariña “Reflections in a Crystal Wind”

| Folk

Though not forgotten by any means, the unique and groundbreaking music of Mimi and Richard Fariña still remains distressingly under-appreciated. As the sands of time have gathered, the two have, in many ways, found their roles as musicians eclipsed by other aspects of their lives: namely, Mimi as Joan Baez’s little sister, and Dick as an iconic literary figure of the post-Beat generation. The fact that they were not only recording electric folk-rock before almost anybody else on the scene, but raga-influenced folk-rock at that, seems to be on a card relegated to the bottom of their deck. Bob Dylan’s Bringing It All Back Home may have predated the Fariñas’ debut album, Celebrations For A Grey Day, by a month, but it was Dick Fariña who had been actively asserting to the revival’s leading lights that American folk music was no good without a beat you could dance to. Hell, at the 1965 Newport Folk Festival, the Fariñas were stomping out rainy day rock and roll several hours before Dylan’s electric set supposedly blew open the doors of the genre.

But enough frustrated backstory, because I think just digging the music will tell you all you really need to know. Eight months after dropping their extraordinary debut, the Fariñas released this record, Reflections In A Crystal Wind. Building on the white-lightning folk-rock-raga sound of Celebrations, this album establishes the two’s developed musical spirit while, at the same time, expanding the range of their repertoire considerably. Both Dick and Mimi are at the top of their games, both vocally and instrumentally, with Mimi especially starting to shine, such as on the swaying guitar and dulcimer duet Miles, her tribute to the Prince of Darkness. There are less instrumental showcases here than on the first album, but the two make up for it with a plethora of righteous songs. It’s difficult to choose highlights, but the ominous Bold Marauder and biting, anti-establishment House of Un-American Blues Activity Dream are nothing but stone-cold classics. You find lots of instances where an author’s talent fails to translate into songwriting talent and vice versa, but that is absolutely not the case here. The sharp wit and crystalline imagery of Dick’s literature is everywhere on Reflections, as he leaps effortlessly from rapid-fire satire to beautiful, lyrical evocations. Even the two’s attempt at a languid, junky blues (Mainline Prosperity Blues) comes up supernatural, with John Hammond and Bruce Langhorne digging in on harmonica and guitar, respectively.

Richard Fariña’s tragic death by motorcycle misadventure is well recounted (I’d recommend David Hadju’s Positively Fourth Street), cutting down a beautiful spirit whose artistic endeavors had only just set sail. Mimi would release the odds and ends compilation Memories the following year, which  has proven just as essential as everything else to two ever recorded. Vanguard Records has kept all of the Fariñas albums in print, and even put out a three-disc set of their complete recordings a while ago that is definitely a worthwhile investment, particularly as it includes nine live cuts culled from two of their three Newport appearances. Don’t let Mimi and Richard slip you by; with whole heart do I recommend their records as required listening.

“House un-American Blues Activity Dream”

:D Reissue | 1995 | Vanguard | buy ]
:) Original | 1965 | Vanguard | search ]
8-) Spotify link | listen ]

Ya Ho Wa 13 “Savage Sons”

| Psych

When discussing obscure rock and roll bands from the 1960s, you often find yourself mired in the same old backstory; local band starts out in some cat’s garage and tries on Beatles and Stones songs for size until they finally meet Sgt. Pepper, turn on with the rest of the country, chip in for a sitar and some guitar effects, and start getting metaphysical. Fortunately, however, you will occasionally get a group of musicians that has a tale far more interesting and unique “ such as Ya Ho Wa 13.

Formed not out of someone’s garage but out of someone’s cult, Ya Ho Wa 13 was the house band for the Source Family commune, a tight-knit group of wayfaring strangers under the tutelage of health food restauranteur and ex-Nature Boy Jim Baker, alias Father Yod. With Yod at the helm, the group spent the late 1960s and early 1970s recording a series of wildly eccentric albums of cosmic improvisation, philosophical earth-child hymns and pounding drums. Though many of these records remain almost overwhelmingly anti-commercial and generally inaccessible to the general listener (wait, who?), their 1974 record Savage Sons of Ya Ho Wa brims with strong songs and righteous grooves, and comes highly recommended to all fans of underground American rock and roll.

It is perhaps telling that musical accessibility first arrives with Father Yod taking a backseat to the proceedings and allowing members of the Source Family to contribute their own material. Though the band itself remains constant here “ Djin and Rhythm Aquarian on the guitars, Sunflower Aquarian on bass, and Octavius Aquarian on drums “ the lead vocals are handled by whoever contributed the song. This gives each cut an individuality that really keeps things burning, and allows for a consistently exciting listen. The two strongest voices here are Electron Aquarian’s frenzied growl on cuts likeFire in the Sky and Man the Messiah, and what I believe is Djin Aquarian channeling Topanga-era Neil Young on Red River Valley, among several others. The music here is definitely in the old west coast tradition, full of weird, chiming guitars, fiery San Francisco style leads and raw jams. In fact, this is some of the best of this type of music I think I’ve ever heard, with the record’s backwoods production helping to ground the band’s most lysergic explorations. The band is real tight, with a funky back-beat over which Djin’s guitar weaves transcendental “ check out his playing on the seven minute odyssey A Thousand Sighs, as brother Electron drips cosmic soul across lyrics like the church, the archive/with rules contrived/the truth you hide.

Unfortunately, Savage Sons is one of several Ya Ho Wa 13 recordings to remain out-of-print, released in limited number on vinyl, and only being reissued once in 1999 when former Source family member Sky Saxon oversaw the release of the six-disc God and Hair box set. Until someone oversees a proper re-release of this album on its own, you’re going to have to try and track down either that box set or one of those 500-1000 existing original copies. Meanwhile, you can learn more about this unique group and the people behind it by checking out Isis Aquarian’s great book The Source.

“The Edge of A Dream”

:) Original | 1974 | Higher Key Records | search ebay ]

Moris “Treinta Minutos De Vida”

| Folk,Psych

Mauricio Birabent started his musical career as guitarist the groundbreaking Argentinian rock and roll band Los Beatniks, who released Rebelde, a scorcher of a 45, to mild commercial success in 1966. Along with Los Gatos and their legendary recording of La Balsa, the song was one of the earliest examples of Argentina’s emerging rock nacional scene, which took the energetic sound of groups like the Rolling Stones and reshaped it with Spanish lyrics and South American influences. However, Los Beatniks soon broke apart due to the censorship and oppression of Carlos Onganía’s conservative military government, and Birabent found himself performing on his own, under the nickname Moris.

His debut LP, Treinta Minutos de Vida (or Thirty Minutes of Life, referencing the approximate running time of the record) was recorded for the fledgling Mandioca Records label in 1970. It represented a move towards psychedelic folk rock, with acoustic guitars and literate lyrics replacing the wild stomp and shout explored by Los Beatniks. The raw, minimalist production of Treinta Minutos may have been striking at the time, but in hindsight it is highly refreshing when contrasted with the slick, plastic sound many of Moris’ contemporaries would soon be wallowing in. Argentina’s independent music scene was just starting to test its wings at this time, and many of the records produced in the late 1960s and early 1970s illustrate musicians building their own recording studio standards from scratch.

The songs on the record are uniformly strong, a number of them having come from his recent past, such as Ayer Nomás, which had actually been made into a hit single by Los Gatos. However, the most famous song here is arguably the opening cut, El Oso, or The Bear, which would soon become an Argentinian standard and almost a rite-of-passage for fledgling singers. The words speak of a bear who once roamed free in the forest, only to be taken into captivity by man and trained to perform for the circus “ an intriguing, if straightforward narrative allegory. Despite the many adaptations this tune has seen through the years, the bare-bones recording here is arguably the definitive take.

Additional highlights include the nearly eight minute lyrical odyssey De Nada Sirve and Esto Va Para Atras, which is marked by righteous fuzz guitar, whirring organ, and reverberating vocals. The seventh song, Piano de Olivos, is perhaps the weirdest departure of them all, being a instrumental that for all the world sounds like a psychedelic slinky jumping a staircase of pianos – and of course I mean that as a compliment, wouldn’t you?

Treinta Minutos de Vida has only been re-released on compact disc in Argentina, but import copies are relatively easy to find, and worth tracking down. After this record Moris would start to tone down the psychedelic flourishes in his recordings and accentuate the tango and 1950s rock and roll influences, culminating with a hit recording of Carl Perkins’ Blue Suede Shoes in the late 1970s.

“Esto Va Para Atras”

:D Reissue | 2003 | Sony | buy ]
:) Original | 1970 | Mandioca | search ]

Country Joe McDonald “Thinking of Woody Guthrie”

| Americana,Country Rock,Folk

During the reigning years of San Francisco headband Country Joe and the Fish, singer and songwriter Joe McDonald took some time out to head to Nashville and record a pair of solo albums with the city’s top session men. Released on the iconic Vanguard Records, these two albums saw McDonald take a broad left turn, away from psychedelia and deep into the traditional folk and country music that had helped inform his earlier years as a radical-political folksinger. Indeed, the first of these two albums, Thinking of Woody Guthrie, was a heartfelt, play-it-straight tribute to the daddy of them all (the radical-political folksingers, that is).

With Nashville aces such as Grady Martin, Norbert Putnam, and Buddy Harmon on board, nobody can accuse McDonald of doing the country thing half-assed. The band lends a warm Opry-house vibe to the wide range of Guthrie material on display, from the weary Blowing Down That Old Dusty Road (see Going Down the Road Feeling Bad) to Tom Joad, the seven minute Steinbeckian epic that closes the first side of the album. The music tends to be dense, but the sound is always crisp, with sharp guitar and steel lines darting in and out across McDonald’s plainspoken singing. Martin’s electric sitar lines in Pastures of Plenty and the woven acoustics that drive Tom Joad are particularly notable. At some points in the proceedings, one does wish that McDonald’s voice was a little more emotive, but as it stands he does a fine job at conveying what is otherwise well-worn material.

All things considered, it would be a stretch to suggest that Thinking of Woody Guthrie is an essential record, but for what it is it manages to stand remarkably strong. Anyone putting together an electric album of Guthrie songs risks missing the point completely and overdoing the material, but McDonald’s take is understated enough to avoid this misstep. He is always sympathetic to the song. In fact, as he himself notes in the spoken introduction to This Land Is Your Land, the magic in Woody Guthrie’s songs lay in the fact that Guthrie never gave you the feeling that he was better than you in any way, and he never gave you the feeling that he was worse than you. But that he loved you, because you were just like him and he was just like you. I’d argue that the same can be said for old Country Joe here.

An unusual release such as this often risks being forgotten, and left to rot in the vaults, but fortunately Vanguard Records has been remarkably good about keeping their material in print, and their reissue from the early nineties is still widely available. I’d definitely recommend giving it a spin; this is a great record if you’re looking to take some Guthrie songs on the road.

“Pastures of Plenty”

:D Reissue | 1991 | Vanguard | buy here ]
:) Original | 1969 | Vanguard | search ebay ]

The Rising Sons “The Rising Sons”

| Blues,Folk,Garage

The Rising Sons seem to have done things backwards. Built around Taj Mahal, Ry Cooder, and Jesse Lee Kincaid (whose ‘She Sang Hymns Out of Tune’ would later find its way onto records by Nilsson, Hearts and Flowers, and the Dillards), the band would certainly have been deemed a supergroup had it gotten its act together a couple of years down the line. As it stands, the band first made a name for itself on the hip side of the Los Angeles folk scene before eventually finding its way into the studio with producer Terry Melcher, fresh from his success with the Byrds. Though these recording sessions would ultimately lead to the demise of the band, they yielded a strong, if scatterbrained, collection of blues-oriented folk-rock “ excellent music that would unfortunately remain unreleased for over thirty years.

Though a compact disc of the band’s recordings was compiled in the late nineties, it was put together as a historical or archival release, and as such, was a little messy in its presentation (a handful of the cuts featured new, overdubbed vocals by Taj Mahal). Fortunately, however, Sundazed Records has recently taken matters into their own hands and pulled off a beautiful restoration job, putting together twelve of the leanest cuts from that mid-sixties session and releasing what they think the first Rising Sons record would have been like, had it actually seen daylight. Even the artwork on this release has been carefully and lovingly designed to look like a vintage record jacket.

The album opens with Statesboro Blues, the Blind Willie McTell standard, and a barreling take on the Monkees tune Take A Giant Step. Both songs would later be re-cut by Taj Mahal in arguably superior arrangements, but the sides here have a brash recklessness to them that’s both engaging and refreshing. Cooder’s slide guitar and Kincaid’s twelve-string are all over the place, buzzing around the songs and really propelling above your usual late-sixties fare. When the band sets aside the fuzz tones and brings out the acoustic instruments on The 2:10 Train, it’s extraordinary to hear how beautiful the Sons can sound when they put their minds to it. Linda Albertano and Tom Campbell’s folk ballad positively dances here, and is as laid back as the earlier cuts are furious, gesturing towards the road Taj would soon take with Jesse Ed Davis and beyond.

If you dig the later work of any of the members involved, or are simply looking for a righteous slice of Los Angeles folk rock, the Rising Sons album delivers. The band manages to deliver an eclectic range of Americana with the perfect blend of rock and roll attitude and musical traditionalism. If it all sounds a little wild and messy, it comes with the territory “ this stuff is the real deal. Dig.

“Take A Giant Step”

:) Vinyl Reissue | 2001 | Sundazed | buy here ]
8-) Spotify link | listen ]

Phil Ochs “Greatest Hits”

| Baroque,Country Rock,Folk

Few rock and roll tragedies have the sort of complex, emotional impact as that of Phil Ochs. As the most uncompromising of the 1960s protest singers, Ochs was arguably one of the only such singers who refused to surrender his revolutionary ambitions for abstract, personal romanticism. However, as the idealistic hopes of the decade began to give way to darker days, Ochs found the counterculture facing what looked like a losing battle. Caught between the collapse of the movement he had devoted himself to and a deep, chronic depression, Ochs did what any man would do: he took a wild left turn and released one of his most esoteric albums “ one that remained fervently political, but which also turned out to be surprisingly autobiographical.

Despite its title, Greatest Hits is an album of ten new original songs, produced by the legendary Van Dyke Parks. This record had to have been one of the last thing Ochs fans expected from their hero, as it more or less entirely eschews the folk music foundations of his previous records and instead delves wholeheartedly into a sort of orchestral country rock. A taste of the man’s electric explorations was certainly evident on his last record, Rehearsals For Retirement, but that had been comparable to what Dylan and the Byrds had done before him; the country touch here is his most interesting indulgence.

Perhaps tellingly, Elvis Presley serves as one of the record’s most pervasive influences, from the Elvis In Memphis nod of the cover art, to the great, sarcastic tag-line fifty Phil Ochs fans can’t be wrong. One of Ochs’ best-remembered quotes is that if there’s any hope for a revolution in America, it lies in getting Elvis Presley to become Che Guevara. This record is his strongest attempt at bridging the wide gap between those two disparate icons, and though it has never received much critical or commercial attention, it really is an underrated classic.

Simply reading through the musicians involved gives testimony to the musical strength here. Players include Clarence White, Kevin Kelley and Gene Parsons from the Byrds, Ry Cooder, Chris Ethridge, James Burton, Earl Ball, and even Don Rich from the Buckaroos. Together they craft a driving and authentic honky-tonk sound that is given a unique bent by Parks’ contrasting orchestral arrangements “ check out the opener One Way Ticket Home for one of the most interesting examples. Of course, that is not to say that Ochs’ old sound is entirely absent, as songs such as Jim Dean From Indiana and the eerily prophetic No More Songs certainly harken back to the somber and dramatic style he had been exploring on his last few recordings.

Greatest Hits is criminally out of print in any tangible format, though it is available digitally. This is absolutely a record worth investigating, whether you’re already an established Phil Ochs fan or are only now learning about the man and his music. A live record was made during the tour for this album, and eventually released in 1975 as Gunfight at Carnegie Hall. It takes Ochs’ robust new sound even further, featuring numerous rock and roll covers and rearrangements of older material. Also of note is the new, highly-recommended documentary about Ochs, There But For Fortune. It’s a compelling story, and the film really does manage to capture the many tangled aspects of his life, including his enduring legacy.

“One Way Ticket Home”

:) Original Vinyl | 1970 | A&M | search ebay ]
;) MP3 Album | download here ]
8-) Spotify link | listen ]

Bell + Arc “Bell + Arc”

| Classic Rock,RnB

Bell & Arc’s one and only record is a prime cut of early 1970s British rock and roll. Born out of the psychedelic ashes of Skip Bifferty, Bell & Arc saw a reunion of sorts between singer Graham Bell and his former band mates, keyboardist Mick Gallagher and guitarist John Turnbull. Anyone delving into this record expecting the underground freak-beat of that earlier band, however, is in for a rude surprise. This band is an entirely different beast, and even Graham Bell’s singing has undergone some serious evolution since Skip Bifferty sank in 1969.

Heavy threads of American soul music, as well as tasteful touches of gospel and country, are what inform this record more than anything. From the insistent groove of High Priest of Memphis to the rollicking banjo rolls in Keep A Wise Mind, it is clear what musical traditions these cats are mining. Graham Bell’s vocals here are so soulful it almost hurts, with the obvious reference point being the shredded-throat testifying of fellow countryman Joe Cocker. Turnbull’s guitar is also on fire, whether he’s indulging in tight wah-pedal workouts in Let Your Love Run Free or keeping things beautifully restrained in the band’s sizzling, slow-burn workout of Leonard Cohen’s So Long, Marianne. In the meantime, I would assert that it is Gallagher’s rhythm piano which seems to be the bedrock of the band’s sound. Each cut displays inspired playing that really seals together the spirit of the band. His concluding improvisations on Yat Rock are particularly enjoyable, where he compliments his driving rhythm playing with the occasional Jerry Lee Lewis run.

Side A of this record is one of those rare cases where every song is absolutely killer, and the energy just does not let up. The opening three song punch blows me away every time. By the second side, things start to lose a little steam, but only barely. In fact, Dawn, the one acoustic track on the album, is a pleasant, hazy respite from the high-octane rave-ups that surround it. In fact, the guitar dynamics and subdued atmosphere might actually make it a highlight. Children of the North Prison draws the band back, and throws out one of the catchiest hooks on the record against a great ascending piano line. In the years since I first happened on this record, it has slowly but surely become one of my absolute mainstays. It’s hard not to be drawn in to Arc’s tight grooves and Bell’s cosmic rock and roll songs, and  I dare say it makes some fantastic road music. Check out the (out-of-print, but easy to find) Rock and Groove Records reissue, or keep your eye peeled for one of the original copies. I should probably note that it looks as though the British and American copies of this one have different artwork; the British record has a bright red cover, with what looks like layered fists.

“Children of the North Prison”

:) Vinyl | 1971 | Columbia | search ebay ]
:D CD Reissue | 2009 | Rock & Groove | buy here ]

Earth Opera “Great American Eagle Tragedy”

| Art,Folk,Psych

Earth Opera was one of several groups to come out of the rather infamous Bosstown scene, a motley wave of rather disparate bands modeled on the highly successful San Francisco sound and pushed by MGM publicity man Alan Lorber. Despite being grouped together in marketing and subsequent rock and roll history, the only real common denominator among these groups is, well, Boston. Each band really did have its own unique sound and aesthetic, and each deserves to be looked at independent from the record company hype that clouded their reputations back in the late 1960s. Earth Opera, headed by future bluegrass pioneers David Grisman and Peter Rowan (who had already made something of a name for himself singing with Bill Monroe), gave testimony to this spirit of individuality when they released The Great American Eagle Tragedy in 1968.

The album opens with what could have been a killer single, Rowan’sHome To You. This song would later be re-recorded by Seatrain in the early 1970s, but the original recording is absolutely superior. Soaring harmonies and snaking steel guitar lines make this one probably the closest Earth Opera got to country rock, which, though eminently enjoyable, doesn’t quite prepare you for the weirdness to follow. Mad Lydia’s Waltz is a surreal and atmospheric sketch of a woman heading down a cobblestone alley to meet her lover. The lyrics and trilling mandolin almost draw the sound into the British folk rock territory of Fairport Convention, and Rowan’s keening vocals really do border on unsettling.

From there, the band skips through a myriad of sounds, from the rather pale, lightweight pop of Alfie Finney to the rollicking Sanctuary From the Law. Earth Opera has a well-defined sound, and their real talent is in exploring that sound from all possible angles. The end result is that every cut has its own distinct character, while at the same time working towards building a coherent whole. This whole comes together beautifully on the undeniable centerpiece to the record, the ten-and-a-half minute title track. The Great American Eagle Tragedy begins with the mournful wailing of saxophones, with the band eventually building into an explosive early climax and a brief bit of silence. Heavy drums draw the music back in and the band rumbles into a pounding anti-war anthem replete with free-jazz fuzz guitars, whistling flute improvisations and some of the most intense vocal screaming I’ve heard on a 1960s recording. To be perfectly honest, experiencing this song may be worth the price of the album alone.

It’s hard to imagine what could possibly follow The Great American Eagle Tragedy, but somehow the band clears the hurdle by throwing in an undeniably catchy rocker that somehow manages to compare love to a roast beef sandwich against a backdrop of mangled guitars. It may sound ridiculous, but this is one you’ll be humming to yourself long after the needle’s been lifted. The tasteful production, courtesy of underground folk legend Peter Siegel, helps keep this gnarly tangle of instruments and sounds in order, and really does give the record just the right amount of fine-tuning it needs to succeed.

Earth Opera released a self-titled record before this one, which is rather different from its follow-up, but definitely solid. Both albums were reissued on compact disc by Wounded Bird Records in 2001, but it looks as though The Great American Eagle Tragedy has since gone out of print. Fortunately, you can find original copies of the album relatively cheap, and seeing as Edsel Records recently reissued it on vinyl, new copies aren’t that hard to snag.

“Home to You”

:D CD Reissue | 2001 | Wounded Bird | buy here ]
:) Vinyl |  1969 | Elektra | search ebay ]