Archive for the ‘ Folk ’ Category

The Gants “Gants Again”

| Folk,Garage,Pop

The Gants were a mid 60s garage/folk-rock band from Mississippi whose biggest commercial success was a billboard charting cover of Bo Diddley’s Road Runner. This minor hit was enough to secure them the release of 3 LPs on Liberty, Gants Again being the third. Lack of original material and a sound that’s often far too derivative of their British heroes (especially the Beatles) keeps it from being a great album by any stretch. But there are many fine moments here.

Wonderful tracks like I Wonder and the moody, near suicidal Somebody Please prove that they certainly had tons of potential. And it really is unfortunate because an album’s worth of originals on par with these tracks may have ranked up there with the Nightcrawlers LP or the Beau Brummels vol. 2. Not that all the cover tunes are boring. Some (Rain and You Better Run) are actually very well done and breathe new life into the songs. But it still leaves the listener longing to hear what the Gants and other groups of this ilk would have sounded like if they were given more creative license instead of having managers and labels pad up their records with mediocre filler.

Unless you stumble across this in a bargain bin (or for less than ten bucks), you’re better off grabbing the Bam Caruso collection I Wonder which compiles the best material from all three albums, including some cool unreleased forays into baroque pop.

Gants Again

“I Wonder”

:D CD Compilation | 2000 | RPM Records | buy from amazon ]
:) Original Vinyl | 1966 | Liberty | search ebay ]

Help Yourself “Help Yourself”

| Americana,Classic Rock,Country Rock,Folk,Pop

Unable to get over my Ernie Graham addiction, I set out in search of more from the ilk of rootsy pre pub rock and stumbled across this gem from 1971. Help Yourself formed in the wake of Brinsley Schwarz but with a strong ear to The Band, forging a raw and honest Americana sound on their first LP. Not nearly as dippy as the cover art suggests, this is a fine sample of straight California rock that’s really from the UK.

Recorded at The Grange in Headley, previously used by Led Zeppelin to record the Four Symbols album, the Helps were trying to let the rural environment to influence their music. If this is the case, the landscape in Headley must be no different than the piece of earth Neil Young was treading around the same time. The Help Yourself album is eerily similar to Young’s sound in almost every regard; they even have a song called Old Man, which is a really fine but totally different song.

The record opens with a feel good gospel track, I Must See Jesus For Myself, that I can’t help but think was meant to be ironic. This is sure to throw off listeners, but maybe attract those who don’t mind a little Jesus in their tunes. In any case, you might want to start this record from the 2nd groove. From there on the record showcases great melodies, great double guitar noodling (to great effect with acoustic and electric on separate channels), great songcraft, great CSNY influenced harmonies, and great overall sound. There you have it: six greats for this easily overlooked LP that could and should sneak its way into the playlist of any Neil Young fan.

The second album, attached in the BGO 2fer, adds a clean, phased sound to the recording that gets a little cheezier. Not to say this is a discountable record, just that it maybe draws too near the Ducks Deluxe pub rock approach for my tastes.

Help Yourself. Don’t mind if I do.

“Your Eyes Are Looking Down”

:D CD Reissue | 2002 | Beat Goes On | buy from amazon ]
:) Original Vinyl | 1971 | UA | search ebay ]

Stone Country “Stone Country”

| Americana,Country Rock,Folk,Pop,Psych

Stone Country’s only album contains some of Steve Young’s earliest known recordings. RCA released this strange melange of psychedelia, country, soft-pop and jangly folk-rock back in 1968. This record is by no means a cohesive effort as it sounds like the work of 5 different groups. At first I wasn’t so sure about the album but multiple listens reveal a good record with very solid performances. So while the album itself might not gel together as a finished product, about 90% of the songs are strong and hold up well individually.
Stone Country were a Los Angeles CA sextet that only existed for a little less than 2 years. Steve Young had headed out to LA from Alabama in 1963, looking to secure a recording contract. The group was founded in 1967 when the management company of Denny Bond and Ken Mansfield were in the beginning stages of putting together a new group that would combine elements of both country and rock n roll. Steve Young was chosen as lead guitarist and vocalist while the rest of the group’s lineup looked something like this: banjo player Don Beck, vocalist and rhythm guitarist Doug Brooks, drummer Dennis Conway, vocalist and bassist Dann Barry, and guitarist Richard Lockmiller.

The album, while not a lost classic is very solid and thoroughly enjoyable. It was clear from the beginning that Young was the group’s most distinctive songwriter and vocalist. Magnolias, a Young original, was one of the lp’s highlights and a unique mixture of Southern soul and swamp rock that only he could deliver – a very gritty vocal performance too. Woman Don’t You Weep was more of the same, another good Young roots rocker with a driving beat and an attractive string arrangement. Two raga rock gems, Love Psalm and Mantra have nice fuzz guitar work and could easily fit in on the Byrds classic Notorious Byrd Brothers lp. Other tracks hit more of an Association soft-pop sound (‘Lizabeth Peach and Everywhere I Turn – both very good) while Why Baby Why (a George Jones cover) and Life Stands Daring Me show off the group’s country roots. The latter is a particularly imaginative slice of psychedelic country-rock with its soaring vocals, glittering guitars and wild banjo picking. Stone Country’s only mistake was including Angelica, a horrible bland pop number that had no business being on the lp.

Rev-Ola just recently reissued Stone Country for the first time on cd. Stone Country hits all the right bases that were common in 60’s American rock music: psychedelia, country-rock, folk, blues, airtight harmonies, adventurous arrangements, and great musicianship. This record is well worth a spin.

“Magnolias”

:D CD Reissue | 2007 | Revola | buy from revola | amazon ]
:) Original Vinyl | 1968 | RCA | search ebay ]

The Long Ryders “Native Sons”

| Americana,Country Rock,Folk,Garage

One of the best from the 80s underground, right up there with top albums by the Dream Syndicate, the Wipers, the Meat Puppets, the Minutemen and the Replacements. The Long Ryders had more of a genuine 60s sound though and this record, Native Sons, was their first album (not counting their debut ep, 10-5-60). This group hailed from Los Angeles California and was led by Kentucky native Sid Griffin, a man well versed in the history of rock n roll. Griffin headed out to LA when he heard about the city’s thriving punk scene. Over time Griffin would meet up with guitarist Steve McCarthy, bassist Barry Shank, and drummer Greg Sowders. Prior to the Long Ryders Griffin and Shank had been in garage revival band the Unclaimed. Over time Tom Stevens would become the group’s full-time bass player and this period would see them gain a respectable live following. The group would eventually become the Long Ryders and fuse 60s style garage rock and folk-rock with a country-rock feel. Native Sons was a brilliant debut lp and in some ways similar to the Byrds’ Younger Than Yesterday, in its unique fusion of folk, country, pop and psychedelia. Also, Native Sons’ album cover strongly recalled Buffalo Springfield’s shelved album, Stampede.

There is real importance in Native Sons though, as the Long Ryders among others, put country-rock back on the map and made the style credible again. In the mid 70s groups like the Eagles were responsible for tarnishing the genre’s reputation, turning something that was intelligent and underground into glossy creampuff pop. So it took a few years and a couple of great albums by groups like Jason and the Scorchers and Rank and File to restore country-rock’s credibility among the underground. On Ivory Tower, Griffin managed to get Gene Clark in the studio to provide backup vocals. Ivory Tower ended up being one of the great lost 80s tracks, downbeat and moody, sounding like a really terrific fusion of mid 60s Byrds and the early 70s solo work of Gene Clark. Sweet Mental Revenge, the album’s only cover (Mel Tillis), was an excellent reading notable for its appealing vocals and fuzz guitar work – a style that is referred to today as cowpunk. Another superb track, the humorous Fair Game, is closer in spirit to blue grass and foreshadowed Griffin’s work with the Cole Porters. I Had a Dream and Wreck of the 809 are underrated gems that listeners often forget about. These tracks display the Long Ryders’ garage band roots and are full of jangly guitars, aggressive vocals, feedback and lots of fuzz. This album is an absolute joy and a must for paisley underground fans and 60s rock junkies.

The Long Ryders were one of the great American underground groups of the 80s. They made recordings that have proven to be timeless and inventive, records that balanced intensity with humor. Besides writing great songs, their talent lies in the ability to take from the past and create something totally fresh and original. Their live shows were spectacular and the group garnered much respect from their peers. All three of their original albums are highly recommended.

“Ivory Tower”

:D CD Reissue | 1993 | Frontier | buy from amazon ]
:) Original Vinyl | 1984 | Frontier | search ebay ]
;) MP3 Album | download at amazon ]

The Byrds “Sanctuary I-IV”

| Country Rock,Folk,Pop

When it comes to the major rock bands of the sixties, The Byrds are maybe the most divisive in terms of modern day respect. I’ve read arguments claiming their sound is long past dated, or they were only able to survive because of Bobby Dylan’s songwriting. At the same time I’ve often heard of their revolutionary style and long spread and lasting influence.

The best records often sink in gradually, the sound slowly nestling into the corners of your mind, and the Byrds were never quick to grab me. It’s Sundazed’s Sanctuary collection that’s turned me all the way around, the beauty of the Byrds now ringing in full, clear, vinyl glory. Hearing these alternate takes and unreleased cuts set in album format is like hearing the Byrds for the first time. A fresh take that I might even recommend to complete Byrd n00bs.

Sanctuary I
Outtakes from the first Byrds sessions at Columbia Studio A for the albums Mr. Tambourine Man, Turn Turn Turn, and 5D. There’s something about hearing the hits from those albums that can turn you off from a thorough listen. Songs that have been friends with the radio since the sixties can have the effect of a television commercial to dedicated album explorers. Loaded with unissued tracks, Sanctuary avoids this issue altogether. My standout track from the first LP is the first version of the B Side from the Turn! Turn! Turn! single, She Don’t Care About Time. Truth is, I’m a sucker for absolutely anything by Gene Clark.

“She Don’t Care About Time”

Sanctuary II
From Younger Than Yesterday, Notorious Byrd Brothers, and Dr. Byrds & Mr. Hyde.  Sanctuary II is comprised of alternating instrumental and outtake tracks. It’s fantastic to hear the backing tracks, a la the Beach Boys’ Stack-O-Tracks, but not so many that it overwhelms the release. Several pieces showcase Roger McGuinn’s work with the Moog. This is the sound of the Byrds at their most unique and interesting stage, I’ll take any recording I can get my hands on.

“This Wheel’s On Fire”

Sanctuary III
This is my favorite of the series. Things had changed by the time the Byrds were recording their Ballad of Easy Rider and Untitled LPs (Roger McGuinn was the only remaining original member), but the full time commitment of Clarence White’s guitar for these sessions elevates the group to a whole nother level. It’s told that CW turned down a gig with the Burrito Brothers to be a Byrd, and to my ears some of the tracks on Sanctuary III may be among his best recordings, wrangling wild new sounds from his B-Bender throughout. The alternate mix of Ballad of Easy Rider to open this one is positively sparkling and I can’t get enough of Build It Up, a CW instrumental track inspired by Buck Owens’ Bakersfield sound.

For more on Clarence White, don’t miss an amazing series of posts at Adios Lounge.

“Build It Up”

Sanctuary IV
Simply a must for Sweetheart devotees, Sanctuary IV puts a host of gems to vinyl from the sessions behind their most revered and uncharacteristic album. Any further glimpse into Gram Parsons’ foray with the Byrds is a must. Pretty Polly is fascinating to hear electrified, seamlessly fusing traditional country with Byrdsian folk rock. One Hundred Years From Now is excellent even at this lazy slow pace.

“One Hundred Years From Now”

:) 180 Gram Vinyl | get Sanctuary at Sundazed ]

Question
Byrds. Love em or hate em? What’s better, Dylan originals or the Byrds’ covers?

Fapardokly “Fapardokly”

| Folk,Pop,Psych

Much loved folk-rock record that is highly desirable from a 60s record collector perspective but comes with a steep price tag ($300-500). I believe Fapardokly’s only lp was released in 1967 off UIP but has some of Merrell Fankhauser’s early work with the Exiles. Prior to the Exiles, Fankhauser had been in the Impacts, a surf group who released the sought after 62/63 lp Wipe Out! This lp contains the original version of Wipe Out and the album as a whole is recognized as a minor gem of surf music.

After the Impacts, Fankhauser would retreat to the desert area of Antelope Valley (CA). It was here where he began to grow as a songwriter and musician. Fankhauser would soon discover a 14 year old Jeff Cotton and eventually the two would form the Exiles. The Exiles played a kind of beat music influenced by the British Invasion and earlier artists such as Ricky Nelson and Buddy Holly. Three or four of these tracks appear on the Fapardokly album and were recorded in Glen Studios during the 1964-65 era. The best of these early tracks is Tomorrow’s Girl, a nice, downbeat Zombies inspired tune that had real potential. In all the Exiles would release 3 singles in the mid 60s of which none would result in any kind of commercial success.

There would be numerous lineup changes throughout 65-66, a time period in which Captain Beefheart would convince both John French and Jeff Cotton to join his new Magic Band. Even through all this, Fankhauser was able to record some interesting folk-rock tracks and eventually release the Fapadokly album in 1967. These newer tracks were more sophisticated and recorded at both Gold Star and Gary Paxton Studios in Hollywood CA. The album opened up with Lila, an excellent, shimmering folk-rocker that recalled the best aspects of the Byrds’ Fifth Dimension lp. The next track, the Music Scene, had a clear Bob Dylan influence and lyrically explained Fankhauser’s frustrations with the music industry. Super Market closed the album out on a high note with its beautiful 12 string acoustic guitar runs, psychedelic lyrics, and blaring trumpet. Two other tracks, Gone To Pot and the quirky Mr. Clock were both successful forays into 1966 psychedelia. The former track begs strong comparisons to the Byrds’ Eight Miles High but is still a very enjoyable piece of raga-rock. The whole album is a mini gem of mid 60s folk-rock which can easily be bought on cd for less than $10 (try the Sundazed version).

“Mr Clock”

:D CD Reissue | 1995 | Sundazed | buy from sundazed | amazon ]
:) Original Vinyl | 1967 | UIP | try ebay ]

Ozark Mountain Daredevils “Lost Cabin Sessions”

| Americana,Country Rock,Folk

The Lost Cabin Sessions are the Ozark Mountain Daredevils’ first studio recordings from 1972. To my knowledge these early recordings were first officially released sometime in 2003 off the Varese cd label. The band would go on to become a well known and very successful country pop group similar in sound to the Eagles or the Pure Prairie League. While that sound is a bit commercial and somewhat formula driven, these early recordings represent something a little different. These 18 songs highlight a wonderful group whose sound was caught between the less bluesier aspects of early Little Feat and the astute folk country leanings of the Byrds, circa 1970.

The group had gotten together in the early 70s when Larry Lee and Steve Cash had met John Dillon at a local pizza parlor. At the time Dillon had said to both Cash and Lee “Look, I’m playing in a pizza parlor, they’re not paying me anything but I get to eat and drink all I want,” Lee replied, “Well I will play with you!” Eventually Buddy Brayfield, Randy Chowing and Michael Granda came into the fold. The Ozarks had five strong songwriters who individually brought something new and fresh to the pizza table. Being isolated in the mountains meant that they could only rely on each other for influence. Over a short period of time they would develop into a strong, cohesive unit, whose sound was highly original and roots based. The groups’ strength were their harmonies, songwriting chops, and a unique ability to fuse mountain boogie with both current and traditional country, folk, and pop music. The Lost Cabin Sessions takes 18 of the 28 tracks recorded during this fruitful early period.

It’s difficult to single out highlights on such a strong collection but personal favorites are the gorgeous country folk ballad Someday Darlin’ and the chugging country-rocker Long Time To Here. The latter’s catchy chorus and fine harmonica playing make it a near classic. A Satisfied Mind, the discs’ one cover, is given a good, sparse reading with great harmonies and a nice harmonica solo. Manager Paul Peterson remembers the recording sessions: “We were at a management office, showing our wares and Leatherwood was playing. I was sitting there, then, I felt somebody come in the room and sit behind me. And then as they got up and walked out, I heard their voice say ‘That’s a really good sound.’ I turned around to see that it was Neil Young.” Leatherwood is one of the more rock influenced numbers but it’s a good one, with catchy guitar figures and a hummable melody. Other tracks like Fly Away Home and Chicken Train hit a good authentic bluegrass vibe with rugged banjo playing and down-home mouthbow.

This is a terrific disc and probably better than any of the studio albums they would soon release. The performances are superb, the sound is underground country-rock and the playing is lived-in and timeless. At around $10 on the amazon marketplace, this disc is an absolute steal.

“Someday Darlin”

:D CD Issue | 2003 | Varese | buy from amazon ]

Michael Chapman “Fully Qualified Survivor”

| Classic Rock,Folk,Pop,Power

Michael Chapman, apart from being a prolific English songwriter whose revered work spans four decades, is probably the best guitar smith you have never heard. While his skills are best evidenced on this album’s predecessor, Rainmaker, the original songwriting and tight production, seemingly informed by all music that came before it, steal the show here.

It’s as if every style of rock music were somehow harnessed and tamed into Michael’s unique folk vision. The album sounds fresh as anything recorded today, yet still of its time, sparkling with punchy drum fills and orchestral arrangements. The album opens with an understated triumph: experimental strings create a soundscape for the soothing rhythm of Aviator to “take my time away.” I cannot think of another 9 minute song that doesn’t seem to last long enough. The lyrics on the album evoke a feeling of hopelessness, and there is a kind of sad tone but all together I believe it can be an uplifting album. This may be thanks to sharing much of the same personnel responsible for early albums by Elton John and David Bowie. During Fully Qualified’s hardest moments, though, I hear a striking resemblance to Bowie’s classic Man Who Sold The World.

Stranger In The Room and Soulful Lady lend a classic rock balance to softer songs like the immortal Postcards From Scarborough, by far the most famous Chapman song. Through several interludes, we are treated to Chapman’s masterful six-string suites. I know my fair share of fingerpicking but still have trouble believing that Naked Ladies & Electric Ragtime is actually performed on one guitar by one person. In any case, it’s a piece that should be standard fare in guitar workshops the world over. But note that I’m not talking about the trite electric guitar leads, performed by Mick Ronson who would team up with Bowie for Space Oddity thanks to this record.

Fully Qualified Survivor is an exceptional collection of songs and your best introduction to one of England’s great underappreciated artists. One of the best.

“Andru’s Easy Rider/Trinkets & Rings”

:D CD Reissue | 2011 | LITA |  buy ]
:) LP Reissue | 2011 | LITA | buy ]
:) Original Vinyl | 1970 | Harvest | search ebay ]

Karen Beth “The Joys of Life”

| Americana,Concept Albums,Folk,Psych

The Joys of Life is Karen Beth’s best early album which was released off Decca in 1969. Beth was not a popular artist so it was strange when this underground record peaked at #171 in Billboard’s Top 200 in 1969. The good thing about The Joys of Life is that it’s a strong record without a steep price tag and easy to find on vinyl – just check your local record dealer or better yet, ebay.

Beth’s vocals are a mixture of Karen Dalton and Buffy Sainte-Marie and the album is a beautiful blend of rural folk, lite psychedelia, and the more downer elements of the singer-songwriter genre. The album opener It’s All Over Now has one too many horns and is by far the lp’s weakest track. After this, there are no false starts or wasted notes; this album is completely solid all the way thru. The title track is an unsettling acid folk masterpiece that begins to rock about mid way thru and is highlighted by organ and vibes. Song to a Shepard is an impressive, stark vocal that sounds centuries behind, similar to what the English folk-rock groups were doing from around the same time. Other tracks reach into deeper, darker moods, just listen to Something to Believe In and the excellent Nothing Lasts. The former is a disturbing slice of spooky folk-jazz paranoia while the latter is a majestic, melancholy folk-rocker. White Dakota Hill, another great track, is wistful with a slight C&W feel that gives this album variety and substance.

Anyone into Margo Guryan or Linda Perhacs is strongly urged to track this record down. The Joys of Life really deserves a first time cd or vinyl reissue as it’s a pretty unique record that needs to be heard by more people.

“Something To Believe In”

:) Original Vinyl | 1969 | Decca | search ebay ]

The Blues Project “Projections”

| Classic Rock,Folk,Pop,Psych,RnB

The Blues Project were one of the hottest live acts of the time and one of the first album oriented bands. Not all blues, with certain tunes rooted in folk and this album bearing a psychedelic edge (nearly the American “Aftermath”) but listen to them cook through some classic blues standards and soulful originals, and the name starts to settle in just fine.

This Greenwich Village group lit up audiences weekly at New York’s Au Go Go Cafe. Before they cut their first record, the smokin’ hot Live At The Cafe Au Go Go, they were joined by session player Al Kooper who was looking to gig and improve his chops on the Farfisa organ. By the time Projections was released, they had become a hard-edged party band that were well-equipped to extend their jams for a drugged out San Fransisco scene, and their eagerness to incorporate other musical forms and experiment beyond the blues put this band ahead of their time.

Al’s “Kooperphone” (actually called a Tubon) on Can’t Keep From Crying supplies an opening dose of out-of-control psych. A completely unexpected classical suite introduces Steve’s Song, a folksy groover with light touches of fuzz. And it’s hard to not become a classic ’66 record with a track like the hard slow blues, Two Trains Running, running 11 minutes 30 seconds. Another toss-for-a-loop is a Jazz-lounge number featuring Andy Kulberg on the uncleverly named Flute Thing. Cheryl’s Going Home is a riff-based standout, but when they perform bluesy shuffles like Wake Me Shake Me and Caress Me Baby you know they’ve hit their stride. The blues numbers give the album its vintage appeal.

Though they could smoke an audience, they were unable to score a hit song. However, one of the last tracks they cut before Al Kooper left the band may be one of the best unknown singles of the year: No Time Like The Right Time.

The Polydor/Chronicles anthology has the Projections album on disc two, with scores of live material and outtakes from the first album on disc one and detailed liners.

“I Can’t Keep From Crying, Sometimes”

:D CD Reissue | 2011 | Sundazed | buy from sundazed ]
:) LP Reissue | 2011 | Sundazed | buy from sundazed ]
:) Original Vinyl | 1966 | Verve | search ebay ]