Dion “Wonder Where I’m Bound”

Blues,Folk,Pop,Psych

Dion DiMucci may not be a name often associated with underground rock and roll. As the New York teen behind such inner city oldies as The Wanderer and Runaround Sue, Dion is usually branded as representative of the slick, early-1960s pop sound that came to replace teenagers’ grittier rock and roll heroes like Elvis Presley or Chuck Berry. Through the years, however, the singer has shown himself a cat of many clothes, whether through rediscovering life as a soft-rock songwriter in the early 1970s or acting muse to Phil Spector’s wall-of-sound later in the decade.

DiMucci’s peak, however, was probably the most obscured era of his multifaceted career. In the mid-to-late-1960s the singer underwent a serious bout of heroin addiction that temporarily silenced his music and sent him spiraling in search of direction. Sobriety would find him with a hit recording of Dick Holler’s topical Abraham, Martin and John in 1968, but in the interim Dion recorded off-and-on with legendary Columbia producer Tom Wilson, backed by a razor-sharp band dubbed The Wanderers. The results of these sessions were not to see the light of day until 1969, when they were released among assorted outtakes from earlier in the decade in order to capitalize on the success of Abraham, Martin and John. The result was the slapdash collection Wonder Where I’m Bound, which is at once the most chaotic and most exciting album in Dion’s discography.

Wonder Where I’m Bound makes no secret of its piecemeal construction, careening from panoramic, harmony-drenched folk-rock to backwoods country blues to old unreleased Belmonts-era doo-wop. Somehow, though, it all works. In fact, I daresay that had this album had been purposely constructed in this way, it would have been something of a masterstroke. DiMucci’s beautiful voice cuts through the many styles of attack and imbues every cut with a sense of desperate yearning, while the exploration of genres is actually quite in tune with the era’s sense of Sergeant Pepper eccentricity.

The record’s title track, penned by songwriter Tom Paxton, should have been the piece to return Dion to the radio. The recording has everything the song demands, and while the arrangement is dense, it is not overdone. Meanwhile, DiMucci’s own Now is vintage folk-rock at its most righteous, featuring a latter-day Everly Brothers arrangement and scratchy guitars. Both this cut and later Wake Up, Baby prove that Dion was the real deal, as a songwriter as well as a performer.

The most startling revelation on Wonder Where I’m Bound, however is clearly Dion’s treatment of the blues standards Southern Train, Seventh Son, and Baby, Please Don’t Go. The story goes that Dion was first turned onto the blues in the early 1960s by the pre-war music of Robert Johnson, and it is obvious that since that point the man has gone back and done some serious listening. Each song is taken in a completely different direction, for while Southern Train is constructed around stripped-back bottleneck guitar and gutsy vocals, Seventh Son is layered deep with tremolo-soaked electric guitars and a heavy Electric Mud arrangement. It’s hard to believe this cat’s versatility. Set at the tail end of the record, the nimble piano work and vocal phrasing on Baby, Please Don’t Go even make it clear that DiMucci has been digging the genius jazz vamps of old Mose Allison.

This lost classic was just re-released in 2010 by Now Sounds Records, and if you have any inclination for 1960s rock and roll you probably owe it to yourself to locate a copy. The biggest wonder of all is how it has managed to stay so far off of people’s radars for so long.

“The Seventh Son”

:D Reissue | 2010 | Now Sounds | buy here ]
:) Original | 1969 | Columbia | search ebay ]
8-) Spotify link | listen ]

Afterglow “Afterglow”

Garage,Pop,Psych,Sunshine

Afterglow

Not too many bands were coming out of Oregon in the late 60s, and it’s not the first locale that comes to mind when you hear the sun drenched songs on Afterglow’s only record.

Originally called “The Madallions,” Tony Tucemseh, Ron George, Roger Swanson, Gene Resler, and Larry Alexander became Afterglow to record their self titled debut in 1966. Under the direction of producer Leo Lukia, a very interesting album was cut at Golden State Recorders that autumn.

Released in early ’67 on MTA records, Afterglow made hardly a dent and the group disbanded soon after. The tragedy of this is apparent when hearing such a delightful record full of pop hooks and potential.

It may have been their relatively remote location that helped quicken the bands demise, but it also added to the unique songwriting on Afterglow. If you hate the sound of the Farfisa organ, you should probably pass on this record altogether. It makes a prominent appearance on every cut, and though the production is slightly derivative the writing is extremely progressive and original for such an obscure debut. Definitely a must for fans of The Zombies, The Left Banke, and Joe Meek’s mid period freakbeat phase.

“Chasing Rainbows” is by far the best track here with it’s odd melody and rhythmic changes melding into a dizzying hook. A dark autumnal vibe undercuts the sunny arrangements, with tracks like “Mend This Heart of Mine”  and “Dream Away”.

“Love” could almost pass for a Meek production with its buzzy organs and slightly off kilter vocal sound. “It’s a Wonder” should be a staple of modern classic rock radio with its catchy hook and Zombies by-way-of the Byrds harmonies, which really drives home what a shame it is this album wasn’t heard more.

There’s an excellent reissue on Sundazed that includes some decent bonus tracks (mostly alternate versions/backing tracks). It’s available on both CD and Vinyl.

“It’s a Wonder”

:D Reissue | Sundazed | buy here ]
:) Reissue | Sundazed | buy here ]

Bamboo “Bamboo”

Americana,Blues,Psych

Bamboo is in large part the work of guitarist David Ray, formerly one third of legendary folk-blues shouters Koerner, Ray and Glover. Blues enthusiasts coming into this later project should be warned, however, that this is a far cry from the rural acoustics of Ray’s previous group. Instead, Ray and pals traverse a weird, labyrinthine conglomeration of jazz, blues, country, and psychedelic rock that makes for a disorientating yet eminently enjoyable listen.

Singing and songwriting is split here between Ray and his two principal accomplices, Will Donicht and Daniel Hall, though it is clearly Ray who leads the proceedings. For some reason Hall only makes it as an unofficial member, for despite writing and singing two of the funkiest numbers his photograph is absent from the cover. The band is rounded out by a number of west coast session players, including a welcome appearance by esteemed First National Band steel player Red Rhodes.

The songs here are all great, though some ultimately prove less memorable than others. I’d say that Ray’s Tree House takes the title for worst offender, marred by its tacky vibes and uninspired lyrics. His Virgin Albatross, however, is a serious slice of late-sixties country rock, while the band delves deep into Band-style Americana with Donicht’s The Odyssey of Thadeus Baxter. One of my favorite elements to this record – and one that it oddly enough shares with fellow Koerner, Ray and Glover alumni John Koerner’s landmark Running, Jumping, Standing Still – is its extensive use of honky tonk tack piano. Though the playing isn’t quite as remarkable as Willie Murphy’s ragtime runs on Running, it still lends the music a subtle, saloon-band edge.

Daniel Hall’s two contributions are at once the bluesiest, worst-spelled, and most explicitly electric. The catchy shuffle of Blak Bari Chari Blooz has some great Hammond organ work, while Sok Mi Toot Tru Luv features the record’s deepest grooves. Repeated listens prove rewarding here, so anyone that finds themselves off-put by this collection’s many eccentricities should try spinning it again a little later on down the line – there’s a good chance something will stick before long. This one tends to be underrated by most critics, making it among the easier Elektra Records rarities to hunt down.

“Blak Bari Chari Blues”

:) Original | 1969 | Elektra | search ebay ]

Quill “Quill”

Prog

This one came as a total surprise package to this reviewer. On reading their unexpectedly extensive Wikipedia entry I found that they’d played at Woodstock despite being an unrecorded act; that they were a popular regional attraction around Boston and the northeast; and that virtually all of them were multi-instrumentalists with a penchant for swapping the instruments around onstage: guitarists and keyboardists switching to horns, woodwind or cellos at the drop of a setlist.

The Woodstock slot came courtesy of a well-received appearance in NYC, and on hearing of their impending festival appearance with its film and live album potential, Ahmet Ertegun signed Quill to Atlantic’s Cotillion subsidiary in the summer of ’69. The non-appearance of the band’s set in the Woodstock movie contributed to the label losing interest and the band’s insistence on producing the debut album themselves didn’t particularly help their cause with Ertegun either. Although it was released the following year it received next to no corporate support and quickly stiffed. Like many another unsuccessful opus of the period it lay doggo for decades until resuscitated for CD reissue by the excellent Wounded Bird imprint in 2010.

The music itself is also surprising, distinctively and wilfully strange, somewhere between the Doors and early British prog-rock. The band members are all credited under wigged-out pseudonyms, Beefheart-style, and the compositions themselves have similarly wacky titles. Sonically, it’s sparsely realised despite the multifarious talents of the musicians, populated by barely-audible organs and pianos and mixed-back guitars and drums “ the most prominent instrument is often the bass guitar. The arrangements are of the apparently loose, adlibbed type that can only result from the most meticulous orchestration and rehearsal. The lyrics are far from the usual hippie abandon of the day, laden with social commentary, and the backings are full of irregular chord sequences and modulations. There’s no telling where it’s going from one track to the next, or sometimes within any given track.

After an unpromising raggedy-ass intro, the opening Thumbnail Screwdriver builds around a catchy Hendrixoid guitar riff and features a chiming solo by harmonised guitars. The nine-minute They Live The Life is a minimalist shuffle with warped Moody Blues harmonies and a sparse drum solo which builds into a collapsing cacophony of chanting and percussion, apparently a favourite concert closer. BBY showcases the alternative horn skills of the players and comes over like Zappa bowdlerising Chicago, while Yellow Butterfly uses only flanged, wah-ed guitar and sparse bass and has ghostly vocals redolent of Syd Barrett. The closing Shrieking Finally opens with a droll mock Gregorian chant which leads into a fragmented prog workout with distinctive piano trimmings. Although all the musicianship is excellent, it’s probably Roger North’s inventive and technically adroit drumming that stays longest in the memory.

It’s all wacky and it all works. You won’t whistle the melodies as you walk down the street, but without doubt this is another rarity that deserves its rediscovery.

“Thumbnail Screwdriver”

:) Original | 1970 | Cotillion | search ebay ]
:D Reissue | 2010 | Wounded Bird | buy here ]

The Kings Verses “The Kings Verses”

Garage

In 1966, Fresno CA band the Kings Verses went into the studio to cut the 10 tracks that make up the bulk of this special LP release.  What could have been a fine mid 60s garage LP ended up in the can for what seemed like an eternity.  The good folks at BeatRocket took it upon themselves to release these excellent recordings on vinyl/MP3.  The record label was also kind enough to include two quality live cuts from around the same time – all in good sound. This live material was culled from the band’s first place performance at the 1966 KYNO Battle of the Bands. Legal complications with the musicians’ union and LA’s Hullabaloo Club would ultimately seal this legendary group’s fate.

During their heyday the Kings Verses played LA’s Griffith and also appeared at the Elysian Park Love-Ins. Their sound alternated between crunching garage punk and sullen folk-rock (think early Love).  For garage rock fanatics this is a major find, along the lines of another mysterious CA group that never released any official singles or albums in their day but produced a slew of unreleased recordings, the Public Nuisance.

To my knowledge, all the tracks on the Kings Verses LP are original compositions that come from the pen of guitarist Jim Baker.   Furious punkers “The Ballad of Lad Polo” and “A Million Faces” caught my attention first but album opening raver “Light” is just as good.  “The Ballad of Lad Polo” is a near classic track that proves this group was more than just a myth – the Kings Verses catch fire here, unleashing a blazing fast paced rocker with lots of great static-like fuzz.  Other good cuts are the fuzzy instro “Mind Rewind”, the menacing garage ballad “She Belonged To Me” and a trio of beguiling folk-rockers, “It’s Not Right”, “E. Sok Baxter” and “You Can Be.”

Had this been released on vinyl back in 1966 it would have been up there with the very best garage rock albums.

“It’s Not Right”

:D Compilation | 1998 | BeatRocket | buy from sundazed ]
;) Digital Download | buy from reverbnation ]

Soundtrack to American Dreamer

Americana,Blues,Folk

During the post-production of Dennis Hopper’s surreal and unjustly-forgotten South American anti-imperialist western, The Last Movie (which would prove disastrous for his career upon release, yet go on to become a cult classic and one of Hopper’s own proudest achievements), the actor and director was the subject of a sort of loose, biographical documentary, filmed around his Taos, New Mexico home as he wandered the desert, got wasted, and philosophized about life (see tag line: I’d rather die fighting than die getting fat). American Dreamer would share in the fate of The Last Movie and quickly disappear into obscurity, but among the film’s remains lays a beautiful acoustic soundtrack, featuring original compositions courtesy of Hopper’s personal acquaintances, such as John Buck Wilkin and Chris Sikelianos, as well as better-known performers such as Gene Clark and gonzo-mime-band The Hello People.

The album itself is relatively short, as are the individual tracks of which it is composed. Gene Clark’s contributions may be the crown jewels of this collection, though they only consist of two pieces, each less than two minutes in length. His Outlaw Song is particularly powerful, a stark anthem of personal revolution against the rational lines that all men draw. The following number, a hushed performance of the country blues standard Easy Rider by Chris Sikelianos, is majestic American folk music in the best Jack Elliott tradition. You can hear Hopper and others laughing and interacting with Sikelianos in the background, giving this one that grace of intimacy that is so hard to find in recorded music.

John Buck Wilkin was a friend of Kris Kristofferson’s who was introduced to Hopper just prior to the filming of The Last Movie, in which he would appear and perform. He scores three songs here, which are basically hit-and-miss. Screaming Metaphysical Blues recounts the Last Movie expedition, and while it has some topical charm, it suffers from a case of weak songwriting. The driving Look at Me, Mama is much better, accompanied by some righteous picking and boasting a solid chorus. The record closes with a reading of Fred Neil’s The Other Side of This Life by The Abbey Road Singers, which is not some long-haired religious choir as one might expect from the name, but rather a heavy acoustic rock-and-roll ensemble, with a singer who vaguely reminds me of John Kay, of Steppenwolf fame.

Like the film which birthed it, the soundtrack to American Dreamer has never been re-released on any modern format, but the record is definitely worth tracking down if you’re into Gene Clark or even just eccentric American folk music. If you’re lucky the vinyl also includes a pretty wild fold-out poster of Dennis Hopper toting a rifle and a joint that’s almost worth the price of the album itself. Like they say, peace and love, right?

“American Dreamer”

:) Original | 1971 | Mediarts | search ebay ]

Delbert and Glen “Delbert & Glen”

Americana,Country Rock,RnB

Delbert and Glen were a country-rock group that was founded by two Texas musicians, Delbert McClinton and Glen Clark. Prior to that, McClinton, a musician’s musician, had began his career in the late 50s, playing harmonica on Bruce Channel’s classic 1961/1962 hit single “Hey! Baby.” After touring with Channel in England, McClinton went on to form his own mid 60s folk-rock group, the Rondells. The Rondells kicked around the Fort Worth scene, recording some material (but never an official album), most famously, the orignal version of “If You Really Want Me To, I’ll Go” (covered by the Sir Douglas Quintet). When McClinton relocated to LA, he met up with Fort Worth musician Glen Clark. These two musicians recorded two very good Texas-style country-rock albums for Atlantic affliate Clean Records.

Delbert and Glen was the first of these efforts, released in 1972. Songwriting credits are split evenly between the two artists but McClinton’s harmonica playing and hoarse, soulful vocals were the highlight of this LP. Delbert and Glen differentiated themselves from the twangy country-rock crowd by crafting a unique mixture of ballsy, intimate texas music: greasy blues, hillbilly country music, gospel, raucous rock n roll, and funky Southern-style jive. The 1972-1973 era was a prolific time for both musicians as they served up a handful of lost Americana classics. Songs such as “Old Standby,” “I Received A Letter,” “Here Come The Blues,” “I Feel The Burden,” “Everyday Will Be Like A Holiday,” and “Ain’t What You Eat But the Way That You Chew It” are wonderful examples of the genre. My hit picks are the gorgeous, soulful pop of “Everyday Will Be A Holiday,” the tough rocking album opener “Old Standby” (what a great track!) and the underrated country tune “All Them Other Good Things.” Alternative country and country-rock fans cannot miss this gem and are urged to track down these recordings – they are essential. Also, check out the duo’s worthy swan song from 1973, titled Subject To Change.

“Old Standby”

:D Reissue | 2005 | Koch Records | buy here ]
:) Original | 1972 | search ebay ]

The Rondells (1965): http://www.youtube.com/watch?v=JVBKm8xo2rI

Kaleidoscope (US) “When Scopes Collide”

Americana,Folk,Psych,RnB

Though it is generally written off as a failed reunion album, Kaleidoscope’s When Scopes Collide really does demand re-evaluation. Though the record was released six yearsafter Kaleidoscope’s disastrous swan song Bernice, this is not the work of a band that has lost its way. In fact, I would go so far as to argue that When Scopes Collide reveals a group that has not only gained a new lease on life, but has managed to reclaim some of the carefree, communal spirit that had, over time, become less and less apparent in their recorded output. Some of the credit here may be due to multi-instrumentalist Chris Darrow, who finally returns after having jumped ship in the wake of 1968’s A Beacon From Mars.

Some folks have criticized this album as being too rock and roll, presumably having hoped for a half hour of lysergic middle-eastern breakdowns. Might I remind these unfortunate listeners, however, that good-old-fashioned rock and roll was always a major part of the Kaleidoscope sound and, though their legend may have been cemented through their innovative use of eastern instruments and rhythms, their more exotic numbers were always outnumbered by their ventures into traditional American musical forms. The band’s strength has always lain in their willingness to cross-pollinate between east and west, whether by laying down whirring shahnai lines across an old Coasters novelty hit like Little Egypt, or arranging Ghost Riders In the Sky around a haunting oud and lap-steel duet.

Having said all that, however, I will admit that the most transcendent moment on this record does in fact come on the cut with the strongest middle-eastern influence. Solomon Feldthouse’s It’s Love You’re After is a hazy, nine-minute tapestry of saz, oud, kemenche, piano, doumbag, violin, gudulka and steel guitar. This may very well be one of the band’s great masterpieces; an epic descendant of earlier Kaleidoscope classics such as Egyptian Gardens and Lie To Me. Not even an awkward attempt at a percussion solo halfway through is able to dampen the magic.

This record was originally released on Michael Nesmith’s Pacific Arts Records, but in 2005 the German roots-music label Taxim reissued both When Scopes Collide and Kaleidoscope’s second reunion effort, Greetings From Kartoonistan…We Ain’t Dead Yet. It would appear that both are still available, though those of you in the Americas are probably going to have to fork over a little extra in shipping. It’s more than worth it, though; if you dug the first few Kaleidoscope records there’s a good chance you’ll find something to enjoy in this collection. Keep your mind open.

“So Long”

:D Reissue | 2005 | Taxim | buy here ]
:) Original | 1976 | Pacific Arts | search ebay ]

The Outsiders “C.Q.”

Garage,Psych

C.Q.

With a plethora of recent reissues (Jackpot – vinyl and RPM – cd), it seemed like a good idea to backtrack to this classic record and give it another listen.  C.Q. was to be the Outsiders last album (their 3rd LP), an attempt to reach the group’s original core audience amidst a troubling commerical downfall.  Not only is this one of the best “international” psych albums but it’s as good as anything by the early Pink Floyd, psychedelic era Pretty Things or Love.  Its closest reference point is probably the Pretty Things superb S.F. Sorrow – there are no soft, wimpy moments on either of these records, just pure intensity and garage punk muscle.  C.Q. is what the Rolling Stones’ Their Satanic Majesties Request should have sounded like.

C.Q.’s strength is in it’s consistency and diversity.  No two songs sound alike yet every experiment is well thought out and successful.  The group’s hallmark start-stop punk rhythms are firmly in place on many of C.Q.‘s tracks but by 1968 the Outsiders had grown considerably, incorporating more folk-rock and psych sounds into their repertoire.  Psych cuts such as the very European sounding “Zsarrahh” (supposedly a nod to Wally Tax’s Russian roots), the brief “Bear,” an avant garde folk-rock cut titled “Prison Song” and “C.Q.” heralded a new, more experimental outfit.   Other cuts such as the sensitive “You’re Everything On Earth,” a bluesy, spacy cut titled “It Seems Like Nothings Gonna Come My Way Today,” and “I Love You No. 2”  were folk-rock gems that showed off Tax’s soft, expressive side.  That being said, it’s the harder cuts that warrant the greatest attention.  “Misfit,” “Doctor,” “The Man On The Dune,”  “Happyville,” and “Wish You Were Here With Me Today” are masterful acid punkers.  “Doctor,” one of the group’s best LP tracks, features distorted vocals and an explosive fuzz guitar freakout.  “The Man On The Dune,” another classic and personal favorite, is a blistering psych punker with jagged guitar fuzz and a strange, unsettling conclusion.  It goes without saying that C.Q. is one of the immortal 60s albums.

As mentioned above, there have been many reissues of C.Q. To me, the Pseudonym reissue was the best as it featured three terrific non-lp tracks (“Do You Feel Alright” is an excellent cut that should have been a hit).  The recent RPM disc features six good live cuts from 1968 while the Jackpot reissue is a straight up vinyl offering with no extras.

“The Man On The Dune”

:D Reissue | 2005 | Pseudonym | buy here ]
:D Reissue | 2011 | RPM | buy here ]
:) Reissue | 2011 | Jackpot | buy here ]

The Tree People “Human Voices”

Folk,Psych

Human Voices, the Tree People’s second album from 1984, is a solid dose of American folk-rock.  The group hailed from Eugene Oregon, releasing their debut LP in 1979.  Human Voices was a limited edition cassette only release, of which only 300 copies were pressed.  Stephen Cohen (guitar and voice), Jeff Stier (recorder, flue, bells and percussion) and Denis Mochary (drums) recorded the album at The Recording Arts Center.  It’s an album that sounds wonderfully out of step with the post-punk times.

Allmusic.com refers to the album as a “mini gem” while psychedelicfolk.com notes that Human Voices is “a very strong album, that should be regarded as a classic for the genre.”  A few songs, such as the album opening title track, have an English folk influence (early 70s) but the rest of this LP is original American folk/folk-rock music.  Highlights include “Grandfather,” a moody singer-songwriter number, “Thomas,” a great, ahead of its time indie sounding composition, the freeform “If That’s Entertainment” and a superb folk instrumental titled “Opus III,” which delves into spacy soundscapes.  Human Voices is evenly divided between instrumentals and vocal arrangements.

Guerssen Records, a reissue company based in Spain, reissued this very impressive title on vinyl and cd – it’s well worth a spin and highly recommend to those who are into freakier folk sounds.

“Thomas”

:) Reissue | 2009 | Guerssen Records | search ebay ]
:D Reissue | 2009 | Guerssen Records | get it here ]