Archive for the ‘ Folk ’ Category

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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McGuinness Flint (self-titled)

| Americana,Folk,Pop,RnB

McGuinness Flint

Here’s another roots rock classic in the same vein as The Band, only this slice of ‘Americana’ is from the UK! McGuinness Flint is sort of ‘The British Band’ and their debut album is a good, straightforward roots rock record worthy of your attention.

McGuinness Flint are Steve McGuinness, former Manfred Mann guitarist, and Hughie Flint, former John Mayall & the Bluesbreakers drummer. They only lasted from about 1970-1973 and thus were a bit ahead of the emerging Pub Rock scene in the UK, which might have provided them some more longevity, but it was well received in 1971. Two of these songs made the top 5 upon release in the UK: the upbeat go-to track, When I’m Dead And Gone(#2), and the polka-ish Malt And Barley Blues(#5). There are fun and strong tunes here like Bodang Buck, and Lazy Afternoon has a great mid-song transition. Mister Mister is brilliantly penned and infinitely catchy. Mainly, a good English folk/blues classic, and a pleasurable listen.

Faintly, the album teases some classic rock schmaltz; I don’t know how comfortable I’d be singing along to the lyrics “Rock on, rock on, everybody’s gonna rock on!” (unless it were a T-Rex song or something). And one time I dj’ed a track from this at a party and had to cut it short. But you can’t let missteps like these be judge. Fans of the Band are sure to be pleased with this quality record and will find the right time and place to let it ride.

The Capitol Years collection of Flint is your best bet, combining their first two albums on the same affordable CD. Their 3rd album, Lo and Behold, is a collection of Dylan covers!

“When I’m Dead And Gone”

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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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Tim Hardin “1”

| Folk,Pop

1

Here is one of America’s best songwriters. Just ask Colin Blunstone, Gandalf, Scott Walker, The Small Faces, or the hundreds of other well known artists to have recorded his tunes. He is best known for If I Were A Carpenter, though you probably have heard many of Tim’s songs without realizing it.

Tunes you’d probably know on 1? Let’s see, Reason to Believe has got to be the most popular, it’s a well known and beautiful song. Misty Roses you will recognize from Colin Blunstone’s One Year. Never Too Far and How Can We Hang On To A Dream both show up on Gandalf’s self-titled debut.

As for how Tim sings ’em, well, all due respect to his many coverers, and maybe Tim doesn’t own the definitive version for any of his songs, but you need to hear this record. It’s laid-back and incredibly sparse folk music with jazz drumming and delicate, stunning production. String sections, apparently added without his knowledge feature here and there, and fill some holes in this certainly understated recording. It’s satisfying to identify each instrument immediately as you listen, to have them all under control, but not to need another sound.

If you are looking for a compact disc, get Hang On To A Dream, The Verve Recordings, which has 1 and 2 as well as outtakes spread over 2 discs, a great deal (if you get it used).

mp3: Don’t Make Promises

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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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John Hartford “Aereo-Plain”

| Americana,Folk

Aereo-Plain

John Hartford started off like many songwriters, writing song after song trying to hit a big one. And when he did, with Gentle On My Mind (one of the most recorded songs ever), he hung out on those royalties, and all of his subsequent albums were exactly what you would expect from a bluegrass entertainer who did just exactly what he wanted to do. Of course, I must admit that the first time my buddy showed me his tattered LP with some goggled longhair singing hillbilly tunes I wasn’t too interested (probably opting at that time for Trout Mask Replica or the like), but of all the albums I once ignored, this was my biggest mistake.

Hartford is the Frank Zappa of bluegrass. Not quite as prolific in terms of releases, but both musicians were so firmly entrenched in their respective musics, and at the same time, so able to comment on it from an outside, and humorously different point of view. With Aereo-Plain, the first album any wannabe John (or even bluegrass) fan should nab, Hartford grabbed some of the best pickers in town (Norman Blake, Tut Taylor, Vassar Clements, and Randy Scruggs on electric bass guitar) and just let ’em go. In the studio, the only requirements were that at least one picker had to know the song, and the rest could follow. It was a free-form recording and they didn’t listen to playback until it was all over.

There was magic there at that studio, and for a closer look we have the wonderful, newish companion CD, Steam Powered Aereo-Takes which gathers many great outtakes from the sessions. But seriously, start here with the biggie. John’ll rip that banjo and sing about Steamboats (of which he was a Mississippi River pilot), hippies, drug dealin’, songwriting, and the “Goodle Days” in general. In fact, this nearly conceptual album has a nostalgic theme almost in line The Kinks’ classic Village Green album.

Not to be missed, then get Morning Bugle.

“Back In The Goodle Days”

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The Byrds “Notorious Byrd Brothers”

| Folk,Pop,Psych

Notorious Byrd Brothers

Na Na Notorious! The Byrds sure are notorious gangstas and especially on this album, recommended as a good introduction to The Byrds. The Byrds were a huge, huge group back in the day. Sometimes, today, it seems like they aren’t considered up there with the big boys (Beatles, Stones, Who, Byrds), but to those in the know, it’s no question. The Byrds were a monumental force in mashing up the folk and rock scenes, and they were also huge fans of Bob Dylan (averaging around two Dylan covers per release). On Notorious Byrd Brothers, they hit their pyschedelic apex, enlisted the Moog synthesizer, fell apart, and created a masterpiece.

They say the horse replaced David Crosby on the sleeve there, he quit the band halfway through the Notorious sessions, as did drummer Michael Clarke. But Chris and McGuinn knew where The Byrds ought to be going (just consult their next album, the heroic and classic Sweetheart of the Rodeo). Some more about this album: produced by Gary Usher;  SFX transitions, swirling 12-string guitars, laid-back rhythms, ever present and beautiful Byrd harmonies, and two of the greatest Carole King/Gerry Goffin penned hits (“Goin’ Back” and “Wasn’t Born To Follow,” (Easy Rider Soundtrack).

It’s the most psych of the Byrds’ outings, closing with the trippy “Space Odyssey,” apparently an attempt to get a piece of Kubrick’s movie soundtrack. All the Byrds reissues are great, with plenty of bonus. Remarkably, all of it on this one is really good. Especially the super-weird “Moog Raga.”

Besides, if you don’t have any Byrds, you won’t understand when we refer to them every other review.

“Draft Morning”

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