Archive for the ‘ Country Rock ’ Category

The Louvin Brothers “Satan is Real”

| Concept Albums,Country Rock

Satan Is Real

Here’s an essential country gospel record for any collection. Satan is Real is most (in)famous for its cover, which is a photograph of a real set designed and ignited by the Louvin’s themselves, highlighted by the magnificent 12 foot plywood Satan depiction, and noted in the liners to have nearly killed the fellas when the flames got out of hand. This album should be every bit as well known, however, for its quality of sound.

Regardless of your interest in religion, there is no denying the beauty and intensity in music devoted to the Higher Power. And as the Byrds taught us, there can be a campy joy, perhaps tongue-in-cheek, in singing together about “The Christian Life” and “Satan’s Jeweled Crown.” However, Charlie and Ira Louvin did NOT sing these songs with even the slightest intention of mockery; you can hear it in their passionate, strikingly harmonious singing. “You can hear him in songs that give praise to idols and sinful things of this world!”

Aside from the shock of hearing the finest harmonized voices from the history of country music singing and preaching on the woes of doomed sinners and the realness of Satan, there is a perfectly restrained country combo backing, with church organ, snare drum, upright bass and excellently twanged electric guitar. Each song is well written and completely memorable. It’s a perfect, yet challenging and rewarding, album.

“Satan Is Real”

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Relatively Clean Rivers (self-titled)

| Country Rock,Psych

Relatively Clean Rivers

This album comes out of the mind of Phil Pearlman. Pearlman is a veteran of the American 60’s rock scene, being the brains behind such epic psych albums Beat of the Earth and the great Electronic Hole. Relatively Clean Rivers’ only album was released in 1975/76 though it sounds straight out of 1969. This album is extremely rare and has proven to be quite a controversial privately financed release.

Some feel this album is the second coming, with strong apocalyptic acid visions and wonderful musicianship. Others feel that it’s a solid rural rock record with strands of late period psychedelia. It’s important to note that Relatively Clean Rivers was name checked as an influence in a recent interview (via Record Collector magazine) with a Wilco band member concerning their latest album release. This Wilco band member called the record a 60’s guitar album that is “economic.” Regardless, RCR may not be the second coming but it’s still a great album from a period in rock (1974-75) that was thought to be void of such hidden country psych gems.

It’s really a quiet, flowing rural record that has many unsettling, strange moments. At first listen Hello Sunshine immediately stands out amongst the crowd. This song is pretty great, sounding like a stoned underground version of Crosby, Stills, Nash and Young. Everything comes off very natural and the music never sounds forced or dishonest. Much of the record is predominately acoustic, though Journey Through The Valley has some strong electric guitar acid leads. Other tunes like the effects laden Babylon are very spacey and almost veer towards progressive rock. The album closes with the reflective A Thousand Years. It’s another strong composition with some eastern influenced acoustic guitar playing, lyrics with bizarre religious overtones and backward cymbals. Relatively Clean Rivers is not bound to be everyone’s cup of tea, though fans of rural rock should investigate this great private press release.

“Hello Sunshine”

NOTE: Please avoid purchasing this album from the Radioactive label. Radioactive and related label, Fallout are pirate operations, meaning they do not pay the original artists or copyright holders when they sell bootleg vinyl rips on CD. Read more about it at NothingExceptional.com.

Hearts and Flowers “Of Horses, Kids, and Forgotten Women”

| Country Rock,Folk

Of Horses, Kids, and Forgotten Women

Hearts and Flowers released two good LA country folk-rock records in the late 60’s and left behind a plethora of outtakes. Of Horses, Kids and Forgotten Women from 1968 is arguably their crowning achievement. Larry Murray, Dave Dawson and Rick Cunha had made up the first lineup of Hearts and Flowers, all coming from an early to mid 60’s folk mindset. In the summer of 67 they released Now Is The Time For…. to critical acclaim. By the time of their second album Bernie Leadon of Eagles, Flying Burrito Brothers, and Dillard & Clark fame had replaced Rick Cunha.

Of Horses, Kids and Forgotten Women has a few strong covers in Highway In The Wind and She Sang Hymns Out Of Tune. The harmonies were radiant and the band preferred acoustic instruments over electric. Some of the compositions have attractive string, harpischord and horn arrangements. But it is the originals that really grab the ear.

Second Hand Sundown Queen, When I Was A Cowboy, Legend Of Ol’Tenbrookes and the beautiful Extra Extra medley are classy, early country rock songs that have definitely stood the test of time well. The sound here is very close to the quieter moments on Buffalo Springfield’s Last Time Around or even the Beau Brummels on their fabulous Triangle album.

Larry Murray’s Ode To A Tin Angel is the album’s undisputed classic. Tin Angel is a multilayered psychedelic epic that never forsakes Hearts and Flowers love for Americana.

It’s a superb, challenging piece of music that would not be out of place on Millennium’s Begin album. Hearts and Flowers never received their due because the music they created was ahead of it’s time.

“Ode To A Tin Angel”

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The Everly Brothers “Roots”

| Concept Albums,Country Rock,Pop

Roots

Back in 1968, if you were an Everly fan, you probably would have thought the Brothers had ‘sold out’ when Roots was released. Though they recorded plenty a pop wonder, this return to the music of their childhood and new sway into contemporary sounds at once was a bold move. Today, it serves as an easy introduction for fans less tuned to the early 60’s Ev’s, and it will always stand as one of the most important country rock records ever.

It opens with a delightful introduction from Ma and Pa Everly, explaining just how young their talented youngsters really are: “and we gonna play and sing you some songs, neighbors… family style, also country style.” By the time Mama Tried jolts in you’ll understand this record. The playing is clean, smooth, and country. There are hints of experimentation and collage throughout the record and the arrangements both pay tribute and give new life to these songs.

Fair tribute to the similar sounding late Beau Brummels is paid, the Everlys covering Ron Elliot’s Turn Around from Bradley’s Barn and the relaxed Ventura Boulevard. Also of note is that Ron Elliott was in the studio, overseeing production of Roots, which also accounts for the similarity in sound. On Roots, the Everly Brothers managed to put an entirely new sound on Shady Grove and T For Texas while at the same time doing their damndest to establish modern songwriters with the new country-rock standards they had written. As always, their harmonies are great.

There’s a non-country gem on this record that stands out a bit, it’s an early Randy Newman tune entitled Illinois that anyone lucky enough to be living in that fine City of Chicago needs to have on hand. (Looks like this site has it).

The Everly’s had always been combining country music and pop. With Roots, maybe they didn’t invent country-rock, but they cut their definitive statement on it, and from all the groups who were experimenting with this new sound and style, they were probably the most qualified.

“Turn Around”

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Great Speckled Bird (self-titled)

| Country Rock,Folk

Great Speckled Bird

The Great Speckled Bird was lead by Ian and Sylvia Tyson. The above album was recorded and released in 1970. The record company pulled the album from store shelves within months, making this album rare and thus sought after. It’s not uncommon for a copy of the Great Speckled Bird to exchange hands for hundreds of dollars, if not more!

The album itself was a great mixture of early country-rock and folk. At the time it was a bold move for the Tysons to break free from their folk straight jackets. The Great Speckled Bird was supposed to signal the beginning of something new for this famous folk-rock duo. The band was very tight from live gigging, containing some good musicians such as the Remains’ N.D. Smart. Amos Garrett (lead guitar) and Buddy Cage (steel guitar) play with an added venom, incorporating different tones and textures to their guitar playing that work just brilliantly.

The concept of the Great Speckled Bird was to change the direction of folk as well as add electricity and rock n roll power to contemporary country music. The songs speak for themselves, just listen to the power in Ian Tyson’s Calgary. Both he and Sylvia are in great voice, adding a compelling and courageous element to this landmark album. Some of the songs such as Love What You’re Doing Child have that funky rural vibe while others (Rio Grande) recall their folk past. Flies in the Bottle is a beautiful country song and one cannot help but think how this album predates the Gram Parsons and Emmylou Harris collaborations. At times this album rocks hard too, as heard on Bloodshot Beholder.

Definitely worth your time, the Great Speckled Bird is the best album this duo has ever released.

“Calgary”

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Michael Nesmith “Magnetic South”

| Country Rock,Pop

Magnetic South

Michael Nesmith was never really a Monkee. At least, not in the way that most folks imagine the Monkees – as 60s bubblegum phonies in a TV show. The Monkees eventually got with it enough to deserve much more cred than that, but Nez was always ahead of the game.

By 1965, Nezzy was writing and selling hits in LA that were recorded by artists like The Stone Poneys and The Paul Butterfield Blues Band. His only mistake was showing up for an audition advertising their need for “four insane boys.” While there’s no telling if it was a mistake or not, Nezzy grew unhappy with lack of freedom afforded to him on the Monkees’ records. He was a musician and a songwriter in the first place!

In 1970 he paid a mint to end his contract early and got to business. It’s clear he wanted to renew his image, because The First National Band he assembled went on to record this country rock classic which is right on par with the Burritos and Poco. When you spin this you’ll realize why Nezzy got frustrated in the Monkees; his songwriting is incredibly strong.

The tone is almost more country than rock, not to say he turned his back on his pop roots. The pedal steel verges on Hawaiian and the band commits to a laid back but very tight sound. Nezzy doesn’t have that “deep in the heart a” country bass kind of vox, but he gets nice and yodelly-melodic on Joanne (the album’s #21 single) and brings out the high-lonesome on Keys To The Car. Things tend to get a little groovy here and there, but First National always brings it back home! Great licks and a very memorable album.

This is a real-deal country rock record, every bit influential as all the others. If you look for this on CD, you’ll also get the other two First National Band records that followed Magnetic South, both as great as the first.

mp3: Hollywood

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Swampwater “Swampwater”

| Country Rock

Swampwater

Swampwater’s 1970 debut stands alongside Sweetheart of the Rodeo, Guilded Palace of Sin, Poco’s debut, the Everly Brothers’ Roots and Bradley’s Barn as one of the best country-rock records ever.

Founder, Gib Guilbeau had a strong Bakersfield resume prior to forming Swampwater. Guilbeau and Gene Parsons had released a few early country-rock singles in the late 60’s as well as an album which eventually saw light of day in 1970 (although recorded in 1968-). The two recruited Clarence White in 1968 to record the legendary Nashville West album. This album has a good live feel and is highlighted by some of Clarence White’s best playing which was always breathtaking and revolutionary.

Eventually Swampwater formed and started out as Linda Ronstadt’s backing group in the late 60’s. Eric White, Clarence’s brother was also in the band and prior to forming Swampwater had been in the excellent Kentucky Colonels. Swampwater made two distinct albums in the early 70’s without Linda Ronstadt’s involvement. The above album was different than many notable country rock acts of the time for adding cajun and swamprock elements. The album opens and closes with two certified country-rock classics, Louisiana Woman and Big Bayou. Guilbeau had recorded the classy Louisiana Woman with both Nashville West and on his 1970 album with Parsons, though the version heard on Swampwater is the best. Big Bayou is a hard rocking, white hot country song with pretty fiddle that has been covered by many popular artists inlcuding Rod Stewart. Other songs like the acoustic flavored Man From New Orleans are highlighted by beautiful harmonies and a tear in your beer ambience.

Swampwater’s musicianship is high caliber and Guilbeau’s lyrics are always first-rate and thoughtful. Great songs like Kathleen, Desperation’s Back Again (supposedly an Everly Brothers homage with great down and out lyrics) and River People are beautifully arranged and display superior craftsmanship. It’s really a wall of greatness, with each song just as good as the next.

Swampwater mastered all the rural styles from cajun to folk-rock but just never received the breaks they so justly deserved. Their members were slugging it out in bars playing this sort of music years before anyone else had thought to do so. This album is a masterpiece and recommended to any true country fan.

Can anyone provide further information regarding their self-titled RCA album from 1971/1972?

EDIT: John Beland himself was kind enough to stop by and inform us about it in the comments! Thanks for visiting, John!

mp3: Big Bayou

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:) Original Vinyl | search ebay ]

The Gosdin Brothers “Sounds of Goodbye”

| Country Rock,Folk,Pop

soundsofgoodbye.jpg

The Gosdins were no strangers to country-rock in 1968. The prior year the two contributed harmony vocals and guitar to Gene Clark’s exquisite masterpiece, Gene Clark and the Gosdin Brothers. They had also released some great singles that were caught between the earlier Byrdsian folk-rock sound and a new, emerging country-rock scene (check out There Must Be Someone or I’ll Live Today).

Sounds of Goodbye, released in 1968, would be the duo’s only album together. It was a groundbreaking effort that somehow slipped through the cracks. The originals, For Us To Find and The Victim are outstanding cynical country rockers that stand out for Vern Gosdin’s crystal clear vocals with an added Bakersfield twang. On The Victim, the acoustics sparkle and glitter beautifully with a slight psychedelic production that adds to the Gosdin’s unique vision. Sounds of Goodbye and She’s Gone are very wistful and sad but good nonetheless, recalling Gene Clark’s material from around the same time.

It’s an album that should be filed alongside Swampwater, Gene Clark’s 1st solo album, Roots by the Everly Brothers, and the late 60’s Dillards material. Even the covers on this album are done with taste and care, Let It Be Me (The Everly Brothers hit) particulary stands out in this vein. The cd reissue on Big Beat adds 13 singles and outtakes to the original album, most of which are essential. The above mentioned I’ll Live Today’s intro recycle’s Gene Clarks I’ll Feel A Whole Lot Better but eventually evolves into a folk-rock masterpiece. Hang On, one of their hit singles, even finds the Gosdin’s successfully experimenting with a mellotron – in a country rock song!!!

Then we have There Must Be Someone I Can Turn To, one of the first country rock standards and a good enough reason to buy this album. The Byrd’s did a nice version of this song on their Untitled album, but nothing beats the original. The only strange element to the album is the sleeve, in which the Gosdin brothers look like a couple of squares in turtlenecks.

“The Victim”

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Whistler, Chaucer, Detroit, and Greenhill “The Unwritten Works Of Geoffrey, Etc.”

| Country Rock,Folk,Pop,Psych

The Unwritten Works of Geoffrey, Etc.

This is an accomplished album for a band that was barely noticed in their day. In fact, their real names are David Bullock, John Carrick, Scott Fraser, Philip White, and Eddie K. Lively. With the exception of the horrible, trippy music hall influenced Street In Paris, The Unwritten Works of Geoffrey, Etc. is loaded with good songs.

I don’t believe these guys ever played any live gigs as Whistler, Chaucer, Detroit and Greenhill. More or less WCDG were a group of friends experimenting with the sounds of the day. They did this sort of experimentation in their basements until they were rewarded a recording contract. This Texas foursome knew how to write, play and sing and could compete on a number of levels with any peers you care to name. They were a one of a kind band that blended folk, blues, country, psychedelia, soul, and rock seamlessly (think Moby Grape or Buffalo Springfield).

The opening song, The Viper, sounds like a lost track from an early Allman Brothers album, being a great blend of outlaw country and folk rock. Day of Childhood is an intense, psychedelic classic with some great Byrds influenced Rickenbacker guitar, Neil Young-like vocals and swirling backwards guitar solos. Other great moments are House of Collection which is highlighted by some creepy, dazed organ and the righteous droning psych of Ready To Move. The remaining compositions combine folk, light psychedelia and country elements effectively, making this album full of variety.

The band released one more album in the early 70’s, changing their name to Space Opera. Space Opera is a pretty unique effort as well, mixing Byrds influenced folk/country with the burgeoning progressive rock scene.

“Day Of Childhood”

Don't Buy Fallout or Radioactive

This record has unfortunately been heisted by Fallout Records and is being sold without permission from the artist or copyright holders. We won’t be reviewing any more records that are only available from Fallout and urge you to find it in any way that won’t profit this pirate organization. Click here to learn more.

The Flatlanders “More a Legend Than a Band”

| Country Rock

More A Legend Than A Band

This became my favorite new record in under a full day. Normally, we are looking at albums that we’ve sat with, kinda know inside out, but this is an emergency. It’s been an evil secret that nobody told me about this one sooner.

Originally released in 1972, and only available on 8-track cassette until 1990, when it was finally put out on CD- just in time for the alt-country kids to scoop it up- this is a perfect country album. If you’ve ever detected a note of irony when the Byrds put their cowboy hearts on for Sweetheart, this is the record to set you straight. The real deal (and you know because it’s on Rounder).

It’s hard to describe what it is about the sweet spot this record hits, but here’s a shot: The Flatlanders match an electric sound with acoustic, bluegrass instrumentation (sans banjo). They play in an old-timey (lazy fiddle) way with a swing in their step, and add a nice psych touch with the musical saw (imagine a tasteful theremin adding hints of accompaniment on about half the record). Jimmie Dale’s singing is A+ number one and the harmony is also great. Oh and listen to that fine dobro work on Stars In My Life.

Or look at it this way: 13 great new songs to love, a beautiful forgotten classic for your shelves, and a serious contender for Sweetheart of the Rodeo’s coveted country-rock trophy spot. Yes, it’s the newest record in my collection, but I think I would grab for it first on my way to the island.

“Jole Blon”

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