Archive for the ‘ Country Rock ’ Category

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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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”

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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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Maitreya Kali “Inca”

| Country Rock,Garage,Psych

Satya Sai Maitreya Kali

Despite reading the occasional negative review, I think Inca by Maitreya Kali is a good one. Maitreya Kali is actually Craig Smith who was one of the key members of California folk-rock band the Penny Arkade. Theirs was a sound influenced by mystical psychedelia but also grounded in American roots and C&W.

Chris Ducey along with Craig Smith were the creative architects of this hardluck outfit and many of their songs employed guitar distortion, plenty of Californian harmonies and jangly, amplified country folk twang. Some of the Penny Arkade tracks appeared on Inca when it was released in 1972. Apache, Smith’s debut, had appeared earlier that year and also featured a handful of Penny Arkade leftovers from 1966-1968. Both albums feature Craig Smith solo tracks and while both records are solid, Inca may have a slight edge in terms of quality.

In his earlier years, Craig Smith had written songs for the Monkees, Andy Williams and Glen Campbell. With these songwriting royalties Smith traveled the world and financed the release of the Apache and Inca albums. Solo tracks such as Sam Pan Boat are very sensitive and fragile acid folk with pretty vocals and a beautiful burned out ambience. The Penny Arkade tracks have a sound that has often been compared to a garage version of Buffalo Springfield. Their most popular song, included on this album was the 12 and a half minute Knot the Freeze. This psychedelic folk-rock opus is a must for 60’s fans and strongly resembles Buffalo Springfield’s Broken Arrow in it’s suite-like structure. Knot the Freeze reportedly received some local airplay when Inca was released but it is by no means the only highlight on this private release. There are other good Arkade tracks like the tuneful garage folk-rocker Lights of Dawn and the confused acid folk philosophy of Thesis. Country Girl was one of their unqualified triumphs as a band, a prehistoric shimmering country rock number with carefree lyrics and an honesty that is rare in much music.

Not much is known about Craig Smith’s whereabouts today, although it’s been said that after these lps were released he suffered a mental breakdown possibly due to drug intake. Both albums are really good listening and well worth a spin for fans of psychedelia and roots music. Sundazed recently released all of the Penny Arkade’s recordings, including 16 unreleased tracks from the vaults. This disc is also highly recommended to fans of folk-rock, psychedelia or anyone wanting to delve a little deeper into the world of 60’s underground rock.

Craig Smith solo:

“Sam Pan Boat”

The Penny Arkade:

“Country Girl”

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Crazy Horse “Crazy Horse”

| Country Rock,RnB

Crazy Horse

Crazy Horse was formed by the excellent songwriter Danny Whitten, who originally released an album while known as The Rockets, considered essential for collectors. Nils Lofgren, virtuoso guitarist, and Jack Nitzsche, Spector associate and renowned producer, joined when Neil Young recruited the band to back him on his 2nd solo album, and they were renamed Crazy Horse. Their debut is an excellent hard country rock LP that would prove the capability of the band apart from Neil Young’s lead vocal and songwriting.

This record packs a most satisfying punch. There are some bruisers on here in “Gone Dead Train” and the foot-stompin’ “Beggars Day” with its phaser/flanger effect penetrating the mix. Parts sound inspired by Young and “Dance, Dance, Dance,” under his pen, is a kickin country rock number with an old-timey feel. Arguably, the best tunes come from Whitten, like the hypnotic “Look At All The Things,” a soft and beautiful ballad, “I Don’t Want To Talk About It,” and of course the rollicking “Downtown” which would resurface on Neil’s Tonight’s The Night.

Sadly, Danny Whitten’s heroin use would lead to him being excused from Crazy Horse and he overdosed in late 1972. A major loss considering his unrealized talents, best heard on this album, and his death would partly influence the Ditch Trilogy.

Forget the whole story though. Forget Neil Young. Just get yourself some Crazy Horse and drive.

“Look At All The Things”

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Buffalo Springfield “Again”

| Classic Rock,Country Rock,Pop,Psych

Again

Buffalo Springfield recorded three albums from 1966-1968 and the first two are essentials. Again is their 2nd and affords some improvement over their near perfect debut. This is the group that launched the careers of Stephen Stills and Neil Young; Buffalo Springfield is a must for fans of Manassas, the Byrds, CS&N, Neil Young. At times, it’s almost as if they were all the same band.

Neil’s “Mr. Soul” is like the Byrds and the Stones with Neil Young on vocals, a great song along with the orchestral “Expecting To Fly.” “Bluebird” sounds like a CS&N preview with its hard riffin’ acoustic guitar lead, solidified by its postscript: an acoustic ‘take two’ on the track, genius. “Hung Upside Down” is a great track that caught the attention of Colin Blunstone (check out his rendition here). “Rock and Roll Woman” is total Manassas preview material and Neil closes it up with the lovely “Broken Arrow,” maybe the nicest track (and certainly most interesting, with its sound collages) on here. There are different directions on Again, but its all still cohesive enough to contain some magic.

What really drives this record for me is the rhythm section. That plucky electric bass and the punchy airless drums, it’s just the sound you want from the rhythm section on any rock record. If all you know of Buffalo Springfield is “For What It’s Worth,” get your shit together and find this record. (Don’t settle for Retrospective.)

“Bluebird”

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Sir Douglas Quintet “Mendocino”

| Country Rock,Pop

Mendocino

You could never judge The Sir Douglas Quintet by their name. It was picked out by a manager that wanted to give the boys an English vibe, pretty common practice in those days considering the influence of The Beatles. Thing is, there’s no name that could ever define the eclectic hodge-podge sound the Sir Douglas Quintet consistently rocked for a good 5 or 6 years after 1969. Well, except maybe ‘Doug Sahm.’

Mendocino is not only a great introduction to SDQ and Doug Sahm’s music, but its own style of music all together. Texas music was a result of a great cross section of western musical styles, including tex-mex, cajun, polka, country, rhythm and blues, rock, and the San Fransisco sound. Doug Sahm was probably the first musician who was legitimately steeped in all of this and couldn’t control himself from playing it all at once.

As for the tunes on Mendocino, there are nary a miss, but not exactly a first-time winner. I mean this album will have to grow on you before you can really enjoy it. Once you get the hang of the sound you’ll be ready for the whole Little Doug discog. Crossroads is an easy one to get into fast, as is the SDQ’s biggest hit: She’s About A Mover, featuring the classic Vox Continental organ lead from Augie Meyers. Lawd, I’m Just A Country Boy is a great illustration of a Texan’s view of the late 60’s scene in SF (and a microcosm of the album in general). I’ve got a big soft spot for some of the more subtle numbers as well, like I Don’t Want and I Wanna Be Your Mama. The seven bonus tracks included on the CD reissue are all keepers too; check out Sunday Sunny Mill Valley Groove Day.

All in all, this is an exceptionally strong album, and one you won’t regret picking up, after you give yourself some time with it. A real good grower.

“Lawd, I’m Just A Country Boy In This Great Big Freaky City”

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Link Wray (self-titled)

| Country Rock,Garage

Link Wray

This is a great record with which to understand the appeal of raw lo-fidelity recordings. Modern bands like Whiskeytown and early Wilco wrote music that could equal the work of alt-country masters of the past, but their tunes are hampered by modern recording technology, sounding so pretty and sterile that there is no authenticity or character. When you learn to love the toneless piano, acoustic guitar riffin, unaffected treblelectric guitar, and clanky assortment of found percussion objects driving this record, you might wonder why audiophiles ever bothered to enhance recording technology beyond 1971.

Link Wray was a guitar sensation in the late 50s and 60s who had instrumental hits in songs like Rumble and Jack the Ripper. He has the truly awesome distinction of being called the first guitar player to use overdrive and power chords! It wasn’t until 1971, however, during Link’s comeback that his masterpiece works emerged, in a style and sound akin to that of the Stones and V. Morrison, but a roots rock swamp muddy and smokin’. These albums were recorded in a converted chicken shack on Link’s Maryland farm using makeshift equipment.

Link Wray self-titled is an album that was hard to find in recent years. I had to get it on an OOP box set called Guitar Preacher which was a good, if incomplete, collection of Link’s comeback stuff. Now we are blessed with Wray’s Three Track Shack, a 2005 collection of these three excellent albums from 1971-1974. Beans & Fatback is every bit the equal of the self-titled record, and Mordicai Jones features singer Bobby Howard taking a Little Feat white-soul approach on lead vocals for the album. However, I do prefer Link’s tattered and gritty voice on the other records.

Songs on these records range from fuzz git rockers to country-grass interludes, but the best of them just drive with that laid back Stones feel that gets everyone to nod in time. This compilation is a one of a kind treat that should appeal to all roots rock and music lovers.

“Fire And Brimstone”

“From Tulsa To North Carolina”

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