allmusic: 2 stars
Robert Christgau: C+
Rolling Stone’s Greil Marcus: “What is this shit?”
Rolling Stone today: 4 stars
TRS uReview:
[ratings]
mp3: Wigwam
CD Reissue | 1989 | Sony | buy amazon ]
Original Vinyl | 1970 | Columbia | search ebay ]
I first bought this 1969 release on Polydor vinyl the following year when I saw a copy for fifteen shillings in a bargain bin in Woolworth’s and noticed that it had “produced by Jimi Hendrix and Cat Mother” on the cover. I’d also heard the track “Marie” on John Peel’s radio show on Radio One, and been impressed by its bittersweet theme and clever production. On the basis of these two recommendations I handed over the fifteen bob. Well, this tentative bargain turned out to be, IMHO, one of the best rock albums, not just of 1968, which is itself saying something, but EVER, and remains to this day my favourite pop/rock album of all time.
Despite its quality, and despite the celebrity co-production credit, it sold only modestly in the US and hardly at all in the UK, hence its appearance in Woolies’ bargain bin. It’s since been re-released twice in CD format, probably just for Hendrix completists (being the only album ever officially known to have been produced by Jimi for another artist), both times in very small quantity production runs, and I was lucky enough to score a copy of the second (2003) CD release whilst it was current and therefore available at a sensible price.
The five unknown musicians, all vocalists, all writers, and all multi-instrumentalists to session musician standard, produce a string of self-penned songs in a breathtaking variety of styles, from funky riff-rock (“Can You Dance To It”) through tramping Steeleye-style electric folk (“Boston Burglar”), sixties Baroque (“Marie”) and tongue-in-cheek revivalist rock’n’roll (“Good Old Rock’N’Roll:” the medley covered by The Dave Clark Five) to string-laden hippy-dippy epic (“Bramble Bush”) and swamp-tinged, chilled-out instrumental jam (“Track In A”). Musicianship, vocals, and production are faultless throughout.
When the original album came out the track listing on the sleeve omitted the three final tracks from side 2, namely “Bramble Bush,” “Probably Won’t” and “Track In A” (“Nebraska Night”). Instead, the seven components of the “Good Old Rock’N’Roll” medley were credited as separate tracks. Oddly, the CD release, with completely redesigned packaging, repeated this mistake. Rest assured, the three aforementioned tracks are all present on the CD as they were on the original vinyl.
Pending a further CD re-release, if one ever happens, copies are now available only rarely and at collector prices. However, if you happen to chance on a used copy at a sensible price, don’t hesitate: snap it up. You won’t regret it.
“Boston Burglar”
CD Reissue | 1997 | Polygram | buy amazon ]
Original Vinyl | 1968 | Polydor | search ebay ]
These two mostly instrumental albums are the first Frank Zappa solo records. Sans Mothers, Zappa used these forays to assert his interest in serious composition, drawing on influences like Igor Stravinsky, Edgar Varèse, and of course, popular rock and roll music.
Lumpy Gravy (1968-)
Lumpy Gravy is a wildly impressive collection of musical ideas, set in two musical suites. Incorporating surf and pop rhythm sections with musique concrete and absurdist vocal samples (recorded inside a piano with all the keys pressed down, nabbing harmonics from the resonating strings nearby), it does in fact feel like “phase two of We’re Only in It for the Money,” borrowing its wonderful sped-up, tape manipulated feel. The composition is loaded with themes that would be recycled on later releases (“Bwana Dik,” “Oh No,” “King Kong”). Recorded with the Abnuceals Emuukha Electric Symphony and meticulously spliced and diced by FZ, Lumpy Gravy is a monumental achievement – but only a drop in the bucket from one of rock’s most prolific composers.
“Duodenum (Theme From Lumpy Gravy)”
CD Reissue | 1995 | Zappa Records | from amazon ]
Original Vinyl | 1968 | Verve | search ebay ]
Hot Rats (1969)
I wouldn’t say this album is notably better than any other FZ record, but it caught on big. Maybe it’s the short, catchy title; may be the toned down weirdness; could be that Zappa just cut all the bullshit and delivered an undeniable slab of rock that the masses could dig and critics would acclaim. Two of these tracks (“Peaches En Regalia” and “Son of Mr. Green Genes”) even made the legendary (albeit illegal) jazz standards tome, The Real Book, proving the album was the equal of contemporary ‘musician’s music.’ While “Peaches,” featuring Shuggie Otis on bass guitar, may have been the zaniest track ever to become a standard (played on baseball stadium organs to this day), the rest of the album eschews condensed complexity in favor of long form jams and sickening guitar work. Captain Beefheart’s vocal performance on the hot-licked “Willie The Pimp” might be one of his defining moments, though certainly not from Capn’s viewpoint – his distaste for FZ’s production prowess begins here. The rest of the album is fully instrumental – groovy, melodic, jazzy, brilliant, essential listening. In case you haven’t heard it by now:
“Peaches En Regalia”
CD Reissue | 1995 | Zappa Records | from amazon ]
Original Vinyl | 1969 | Reprise | search ebay ]
In the liner notes to recent cd reissue Sounds of Our Time Nick Lowe describes Jim Ford: “Jim Ford’s reputation was not the best. He told a lot of terrible stories and he used to bend the truth a bit. I think deep down he was no rock star, but he noticed people provided him with money when he pretended to be one. Many people who financed his career probably got disappointed when Ford didn’t care to live up to their expectations. He took a lot of people for a ride….I’d never seen anyone use cocaine before I met Ford. Wherever he went there were also illegal substances around. Ford was unreliable and from time to time he disappeared. We were surprised to find what kind of people he seemed to know in England. One time when he got back he had stayed with the blonde bombshell Diana Dors and her gangster-type husband Alan Lake!”
Nick also added this, “When Jim walked off the plane he wore a big Stetson, rose-tinted shades and jeans with creases and round-toe cowboy boots. I’d never met anyone like him before. Ford was the real thing, he was other-worldly and very charismatic. He turned up with a $3,000 guitar, an astronomical sum for 1970, but it seemed he could barely play it, and yet it was so mean, the way he hit that thing. He was totally unimpressed by us (Brinsley Schwarz), but he was making the best out of a bad job.”
Jim Ford meant a lot of things to a lot of different people. Sly Stone claimed Ford was his best friend, Nick Lowe name checks him as a major inspiration, and British mod band the Koobas recorded an entire album of Harlan County songs (The Koobas even went as far as to change their name to Harlan County). His unique brand of country-rock-soul-funk has proven to be original and very influential.
The Harlan County LP was released by White Whale in 1969 and is evenly divided between covers and Jim Ford originals. Most people single out the title track and “I’m Gonna Make Her Love Me” as highlights, and they are great slices of hard country funk. “Harlan County,” the title track, has a nice horn arrangement, crisp, driving acoustic guitars, female backup vocalists and a great beat – it’s another lost gem. But for me Ford’s fuzz guitar arrangement of “Spoonful” is really stellar and the superb country soul ballads “Changing Colors” and “Love On My Brain” make the album what it is today – a unique record in the country-rock canon. Ford’s main strength was his songwriting ability but he’s also an underrated vocalist with real southern grit and soul. There is nothing like Harlan County, the LP is mandatory listening for fans of 60s American rock n roll and country-rock.
You wanna hear his music? The best reissue to get a hold of is Sounds of Our Time by Bear Family Records (2007). This disc has the Harlan County LP in its entirety, rare pre-lp singles, and excellent outtakes that are in more of a country-rock vein. For an example of this, check out the slow version of “Big Mouth USA” and the title track. Both tracks are outstanding pieces of Americana that sound very similar to the Band’s best songs on Music From Big Pink.
“Spoonful”
CD Reissue | 2007 | Bear Family | buy from bear | amazon ]
Original Vinyl | 1969 | White Whale | search ebay ]
Cold Fact by Sixto Rodriguez was recently reissued by Light In The Attic – an excellent reissue at that. Over the past few years this lp has gained quite a reputation, probably due to its unique sound, which is still fresh even by today’s indie rock/folk-rock standards. Cold Fact was originally released by Sussex in 1970 and while it didn’t sell too well in the U.S. , the record gained a new lease on life in 1971 when A&M repressed the lp in Australia, South Africa, and New Zealand – where it sold well (he would eventually play to sell-out stadium crowds in South Africa!). Rodriguez was born in Detriot MI, his parents were both Mexican immigrants – his first name was chosen because he was the sixth child.
Cold Fact is a s0lid record all thru – a real four star gem. One can tell that Dylan was a major influence but this should by no means discredit Rodriguez’s originality and talents as a songwriter. The album led off with “Sugar Man,” a drug addled masterpiece full of intriguing lyrics, twisted electronic sound effects, and soulful vocals. “Sugar Man” is a very dark composition that has stood the test of time well and probably the lp’s standout track – a true classic. Other tracks are worthwhile though like the fuzz guitar driven garage rocker “Only Good For Conversation” or the horn laden “Crucify Your Mind.” “Hate Street Dialogue,” “I Wonder,” and “Forget It” are also excellent with good accoustic melodies and lyrics that really hit home hard. This is real outsider music that is sung so eloquently and played so well it’s almost hard to notice the despair – you really have to listen to the lyrics.
Prior to the Light In the Attic reissue there was a so/so RCA repress from the late 80s. Light In The Attic have done a great job with Rodriquez and will also be reissuing his second lp, Coming From Reality. Cold Fact is singer-songwriter material at its best with beautiful vocals, catchy songs, string and horn arrangements that compliment rather than harm, great downer lyrics, and just the right amount of psych-folk residual. Distinctive soul searching stuff.
“Sugar Man”
CD Reissue | 2008 | Light In The Attic | buy from attic | amazon ]
Vinyl Search | ebay ]
[ratings]
The Pink Floyd’s best album… or worst album? Cheezy and overplayed… or undeniably genius?
Even after 10+ Wizard of Oz syncs (yes, I have done it that many times) , I still can’t decide on this one.
What’s your call?
It’s All Meat were a late 60s/early 70s band that hailed from Toronto and released this excellent album in 1970 (Columbia). Prior to that, It’s All Meat had been known as The Underworld. The Underworld released a superb, crude garage single (“Go Away”/”Bound” – the label is Regency) in 1968 and also recorded some fine unreleased material captured on acetate. As mentioned before, some of the members of The Underworld would form It’s All Meat. In 1969 this new group would release their debut 45, “Feel It” coupled with “I Need Some Kind of Definitive Commitment.” The A-side combined MC5 energy with New York Dolls-style swagger and features plenty of feedback and great guitar breaks. It’s one of the great proto-punkers.
Their album was released the following year and feartured 8 fresh original numbers written by drummer Rick McKIM and keyboard player/lead vocalist Jed MacKAY. There are a bunch of good, solid stonesy garage rockers that form the axis of this lp: “Make Some Use Of Your Friends,” “Roll My Own,” “You Brought Me Back To My Senses,” and “You Don’t Know The Time You Waste.” The latter track would be released as the group’s second and final single but “Roll My Own” and “Make Some Use Of Your Friends” were just as good, featuring fine psychedelic guitar work and raw vocals. Other note worthy tracks flirted with blues (“Self-Confessed Lover”) and folk-rock (“If Only”) but the lp’s brightest moments were its two 9-minute marathon compositions. “Crying Into A Deep Lake” was full-blown Doors psychedelia with spacey keyboards and spooky Jim Morrison influenced vocals. The other lengthy track, “Sunday Love,” sounds like a strange Lou Reed/John Cale concoction with lots a great psychedelic guitar noise and soft folk-like passages sprinkled with light garage keyboards. So while these last two tracks are very long, they never wear out their welcome and are required listening for both garage and psych fans. The album’s production teeters between a primitive recording sound and the typical major label gloss, making it just right.
It’s All Meat is a fine, consistent trip all the way thru. It’s one of the best late period (really late) garage rock albums I know of. The album’s hard rock and proto-punk sounds give it a nice, visceral edge. It’s All Meat was reissued in 2000 by Hallucinations though originals are not hard to come by either.
“Make Some Use Of Your Friends”
Original Vinyl | 1970 | Columbia | search ebay ]
Barely understood when it was released in 1974, No Other is Gene Clark’s most polarizing record but generally considered essential today.
Almost every song an epic, Clark’s songwriting was never up for debate, nor his genuinely poetic verses, but it’s Thomas Jefferson Kaye’s production that would weed out hordes of would-be fans. I contend the producer made only one mistake: the use of “power gospel” backing vocals on every track is probably what turns most people off to No Other. Strike the voices and this record would be hailed as a mid-70s masterpiece for Clark’s efforts as much as its lush, candied orchestration.
The record starts off without skipping a beat from the Clark oeuvre; “Life’s Greatest Fool” sounds like a natural step forward from his earlier country rock. The supporting musicians are perfectly in tune with the vision; I want to dig in deeper with the sound every listen, so I hardly consider it overcooked. One tune does embody Gene’s new super-glam image in sound, where you can “hear the cocaine” churning the record: the sinister title track, “No Other,” is slathered with sleazy synth lines and electric guitars. Whether for camp or pure songcraft it’s an irresistable jam and centerpiece of the record.
All of the numbers possess the signature Gene Clark sound. Say when he waits for “Strength Of Strings” to reach full crescendo before sinking into his minor-tinged verse with that untouchable heartworn vocal. Clark is one of the world’s greatest songwriters, his skill in transforming traditional progressions to his unique brand of song unmatched.
Give this record the right chance and you’ll reach the point where you appreciate every overdone detail, down to the gorgeous sleeve and awesomely hideous poster of Gene decked in flowing garments, beads, and makeup in front of an airbrushed Gene Clark monument. I only have the record, but the CD resissue is reportedly worth it for the alternative versions and “Train Leaves Here This Morning,” a retake from the Expedition.
“No Other”
CD Reissue | 2003 | WEA/Rhino | amazon ]
Orig Vinyl | 1974 | Asylum | search ebay ]
Spotify link | listen ]
This is one of the better albums coming from the Move family tree. It was released in 1970 though it has a clear 1967/1968 sound and is one of the best albums of its kind. Rick Price entered the Move sometime in the late 60s, contributing bass and guitar to “Shazam“, “Looking On” and “Message From The Country.” Mike Sheridan had previously been leader of the Nightriders which were a Birmingham group that specialized in the merseybeat sound and 50s rock n roll.
The Nightriders were sort of a breeding ground for future Move members, most importantly Roy Wood. During Price’s tenure with the Move, he and Sheridan started writing songs together for the above album. Both Sheridan and Price share vocals and writing chores on an album that veers into power pop, psychedelia, sunshine pop and progressive pop. There are horn and string arrangements on this beautiful album that recall some of Paul McCartney’s soft moments on the Beatles’ classic White Album (think “Martha My Dear” or even the Move’s great “Beautiful Daughter”). Some of the heavier moments like “Sometimes I Wonder,” “Lamp Lighter Man,” and “Lightning Never Strikes” sound like excellent 68/69 era Move outtakes. In fact, “Lighting Never Strikes” was released as a Move single at the tail end of the 60s. Sheridan and Price’s version is just as good though not as trippy, with a splendid backwards guitar solo, slashing acoustic guitars and crashing drums. Other songs such as the string laden pop number “Davey Has No Dad” or the trippy “Picture Box” have a beautiful child-like, story song whimsy that hints at a Ray Davies influence.
This is an exceptional if little known Move album that will appeal to fans of the Beatles, Kinks and even lovers of soft, sunshine pop sounds.
“Lightning Never Strikes”
CD Reissue | 2007 | Ace | amazon
Original Vinyl | 1970 | Gemini | ebay ]
Spotify link | listen ]
Running Time: 35 Minutes | File Size 49.0 MB
Listen: .mp3
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PLAYLIST
Clip from: Sir Douglas Quintet “Can You Dig My Vibrations” & “T-Bone Shuffle”
John Stewart You Can’t Look Back
Dan Penn Tear Joint
Mike Nesmith and the First National Band Mama Nantucket
Redwing Dark Thursday
Rick Nelson Things You Gave Me
Clip from: Parsons-Warford-Strandlund B-Bender Instructional EP
Ozark Mountain Daredevils Leatherwood
Vince Martin Danville Girl
Sir Douglas Quintet Be Real
Everly Brothers Cuckoo Bird
Townes Van Zandt I’ll Be Here in the Morning
Crazy Horse Outside Lookin’ In
Matthews Southern Comfort Road to Ronderlin
