Mason Proffit “Wanted”

Country Rock,Folk

Wanted

Mason Proffit were an unknown country-rock band that released 5 good albums between 1969 to 1973. They originally formed out of the ashes of Sounds Unlimited, a hard edged Chicago garage band with a good sense of melody and song structure. Mason Proffit had strong elements of blue grass and folk in their sound but could also rock hard when the mood suited them. They were all excellent musicians and wrote poetic lyrics that occasionally reflected the times (war, protest, and religion).

Wanted was one of the first country-rock records, released off the Happy Tiger label (Dunwich) in 1969. Terry (guitar and vocals) and Johnny Talbot (guitar and vocals) were the foundation of Mason Proffit and often sang beautiful tenor harmonies. Wanted should really be up there with the country rock innovators but many feel that Mason Proffit lacked notoriety because their records were released off small independent labels. It’s an ambitious album to say the least and similar to latter period Byrd gems The Ballad of Easy Rider (1969) and Untitled (1970).

Two Hangmen is a folk-rock song that received lots a radio exposure back in the late 60’s and is now considered a folk-rock classic. It’s by far the most popular song on this record that has many more impressive moments throughout its 30 minutes plus running time. Some songs have sweeping orchestrations, such as the excellent country-rocker, You’ve Finally Found Your Love and a sensitive banjo ballad, Till The Sun’s Gone. Other tracks such as Voice of Change and Rectangle Picture are tuneful, quality songs that skillfully integrate political views and protest the current Vietnam War. A personal favorite is Sweet Lady Love, a pounding bayou rocker with pedal steel guitar and a great acid fuzz solo towards the end. It almost sounds like a great lost Creedence Clearwater Revival track and justifies purchasing this album alone.

For many years Wanted was unavailable but in 2006 the Water record label gave this great album a new lease on life. Mason Proffit would go on to make 4 other fine records though Last Night I Had The Strangest Dream (1971) is often quoted as their masterpiece.

“Sweet Lady Love”

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The Remains (self-titled)

Garage,Pop,RnB

The Remains

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

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

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

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

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

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

“Time Of Day”

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Sagittarius “Present Tense”

Baroque,Pop,Psych,Sunshine

Present Tense

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

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

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

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

“My World Fell Down”

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The Carpenters “A Song For You”

Concept Albums,Pop

A Song For You

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

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

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

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

“A Song For You”

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Moby Grape “69”

Classic Rock,Country Rock,Folk,Pop

69

Moby Grape ’69 found the band rebounding after the double album Wow/Grape Jam debacle. Wow is still a great but flawed record that at times recalls Buffalo Springfield’s tension filled Last Time Around. After Wow was completed, Skip Spence exited the band in pursuit of a solo career, releasing the legendary Oar. Spence’s departure was a major blow but like other great American bands of the time who lost key members, the Byrds and Buffalo Springfield, Moby Grape was still brimming with talent and enthusiasm.

While ’69 is not on par with Moby Grape’s self-titled debut, it’s still a great back to basics country rock record. The album only enhances the group’s legend though, including Skip Spence’s final contribution to the band, Seeing. ‘Seeing’ is undoubtedly their finest moment as a band and one of the best pieces of San Fransisco psychedelia ever waxed!

It starts out with Spence’s plaintive, apologetic vocals which give way to a hard rocking bridge with great spiraling acid leads. It’s as deranged as Syd Barrett’s swansong, Jugband Blues, and mandatory listening for anyone interested in 60’s rock. The band also rock hard with successful results on Trucking Man, Hoochie, and Going Nowhere. Trucking Man is almost a sequel of sorts to Fall On You, with some great, fat slingshot guitar riffs that hit you hard. There are also some quiet, country rock moments on the album like the majestic I Am Not Willing and the classic It’s A Beautiful Day. It’s A Beautiful Day is Moby Grape’s Ripple (Grateful Dead), a sparkling, country folk-rock gem that shines with hippy optimism.

Moby Grape ’69 proved that after all the debut related hype settled, the band was still making great music. Another late period Moby Grape title worth searching for is 20 Granite Creek which was released in 1971. Indeed one of America’s great bands.

“It’s A Beautiful Day Today”

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

Country Rock,Folk,Pop

The Fantastic Expedition of Dillard & Clark

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

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

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

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

“Out On The Side”

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

The Dillards “Wheatstraw Suite”

Country Rock,Folk,Pop

Wheatstraw Suite

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

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

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

“I’ve Just Seen A Face”

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Gene Clark “White Light”

Americana,Country Rock,Folk

White Light

As a songsmith, Gene Clark was the master – in his lyrics and changes he carved his unique vision indelibly into the history of American music.

White Light gets right into it, as the best often do. Gene’s discography can be a little confusing to navigate, until you get to this one, where it’s clear that everything hit the finest spot. It’s delicate, intense, and instantly likable, especially for fans of Clark and his defining work with The Byrds and following projects.

The orchestra is stripped and real: acoustic guitar, forceful harmonica, electric bass, brush drum kit, drops of electric guitar here and there. Touches of soft organ and bare percussions. This is good American roots music in a style only Gene owned. There was always something mysterious and cool going on; it won’t let you call it country music. t has a transcendental value. Regardless of classification, the tunes are downright beautiful, and incredibly original.

The album never drags for careful listeners, becoming anthemic and elusive, this one gives me a weary eyed stare and a gentle shake. The classic “Tears Of Rage” sounds like a whole new piece towards the close of the record; Gene makes his cover sound more like the imagined original, toned down, less developed, with his trademark, somewhat ghostly sound.

White Light is subtle, but it will steal you away. It can make you sad and wonder why. Highly recommended masterpiece.  The reissue is simple and clean, good bonus tracks, affordable and great sounding.

so short and so sweet, you have to listen twice.

cryptic lyrics

“White Light”

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The Bachs “Out of the Bachs”

Garage

Out of the Bachs

This is one of the top local garage lps of the 60’s along with the Rising Storm, the Savages, Bent Wind, the Fantastic Dee-Jays, the Contents Are and the Mystery Meat. Only 150 copies of this record were pressed and originals occasionally sell on ebay for thousands of dollars.

The band members came from the Chicago suburbs of Lake Forest and Lake Bluff. The Bachs existed for 3 years performing at school dances, teen clubs and private parties up and down the Chicago north shore and surrounding suburbs (usually making $150-200 a night). All of the songs were written by Blake Allison and John Peterman and the lp was released privately in 1968. After the release of the lp the band members decided to retire from a career in music and thought it was best to move on with their lives.

The recording quality is admittedly crude and unbalanced but by no means unlistenable. The unbalanced factor was due in part to the band recording instruments first and then laying down vocals over them. Tables Of Grass Fields is the one classic on the record that anyone into garage psych sounds must hear. Tables was an imaginative, bold song for the time and has an excellent no-nonsense intro and some great psychedelic era lyrics. But the Bachs deliver throughout the whole album and raw garage numbers like the blistering Minister to a Mind Diseased (listen to the unhinged, mind melting guitar solo) are mixed with jangle folk-rock downers. Diversity only makes a great album even better and most fans usually cite the middle-third of the lp as one of the seminal highlights in garage rock history. Answer to Yesterday, Nevermore, Free Fall, and My Independence Day are all superb as well and really dig deep down inside to produce dark jangle folk-rock from suburbia Chicago. You’re Mine opened the album, and is a hard rocker in a classic garage sense and definitely a solid example of prep rock. The last track, I’m a Little Boy, shows the band expanding their horizons into the world of psychedelia with wads of feedback and hideously sloppy vocals.

Originals are preferred over the recent cd reissue by Gear Fab, as they have more punch and separation. In any event, this is a great album full of teenage expression and high caliber angst.

“Tables Of Grass Fields”

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The Kinks “Are The Village Green Preservation Society”

Concept Albums,Pop

Village Green Preservation Society

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

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

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

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

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

“All Of My Friends Were There”

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