Archive for the ‘ Folk ’ Category

Mickey Newbury “Heaven Help The Child”

| Americana,Country Rock,Folk

Heaven Help the Child

In 1969 Mickey Newbury’s Looks Like Rain began a string of incredible albums that lasted well into the 1970s. Heaven Help The Child, released in 1973, was one of his very best records. It was also the last of his classic Cinderella Sound Studio Recordings (a garage studio). Produced by Dennis Linde, Russ Miller and Marlin Greene, Heaven Help The Child featured a whole cast of contemporary Nashville musicians: Wayne Moss (guitar) Chet Atkins (guitar), Vassar Clements (violin), David Briggs (keyboards), Buddy Spicher (drums) to name but a few. Many of these talented musicians had performed on Newbury’s prior albums’ Looks Like Rain and Frisco Mabel Joy. Once again Mickey Newbury was up to the task, releasing another hard-to-categorize classic.

“Heaven Help The Child,” the title track, is a soaring American masterpiece that was beautifully produced and featured poignant lyrics about Park Avenue, New York in 1912, 1920’s Paris, and of course freight trains. The lyrics, as always have lots of depth and the overall feel of the song becomes captivating when Newbury sings in his ghostly voice, “We’re all building walls instead of bridges.” “Heaven Help The Child” ended with an air of uncertainty but it goes without saying that this was one of Newbury’s finest creations. Another highlight, “Why You Been Gone So Long,” swings with a confident country-rock swagger and features excellent dobro guitar and Newbury’s smokey vocals which simmer throughout the song.

Four of the songs from Heaven Help The Child had been released on earlier LPs.  Here, “Sunshine,” “Sweet Memories,” “Good Morning Dear,” and “San Francisco Mabel Joy” all enjoy definitive reworkings.  Great songs from Newbury’s prior discs had become even better renditions for Heaven Help The Child.  From my perspective, “Sweet Memories” and “Sunshine” stand out for their dark tone.  Here, Newbury shares his pain with the listener and by the end each song you begin to feel it – the vocal performances on all these tracks are flawless.    You will never hear any country music like this, it’s experimental but more importantly, the honesty and personal nature of Newbury’s songwriting talents shine through.  It’s what makes him such a special, enduring artist.  By all means, if you find this album on vinyl, cd or mp3 pick it up, it’s absolutely brilliant.

Mickey Newbury’s music isn’t glamorous or pretentious, he never tried to be someone else nor did he follow any sort of fad (just like country-folk contemporary Townes Van Zandt). Newbury’s appeal was in the song, he brought you back to a familiar place and time. His music, while very complex, is easy to relate to; he was just a regular guy with extraordinary vocals and a unique songwriting talent. As mentioned in a previous post, the Mickey Newbury Collection (Mountain Retreat box set) has been out of print for quite some time. You can purchase a digital download of this album and many other Mickey Newbury classics at the official Mickey Newbury website.

“Why You Been Gone So Long”

;) MP3 Album | mickeynewbury.com ]
:) Original Vinyl | 1973 | Elektra | search ebay ]

R. Stevie Moore “Phonography”

| Art,Folk,Pop,Prog,Psych

Phonography

R. Stevie Moore, with hundreds of albums under his belt – most of them home-recordings released on hissy cassette tape and hand-marked CD-R – is an unrecognized genius. Born in Nashville, son to session man and Elvis’s bass player Bob Moore, Robert Steven Moore grew up in the music business. Opting to make it on his own with the reel-to-reel instead of working sessions, his dedication to independent recording has yielded troves of unaffected, wildly original music. He recently told Vanity Fair: “I’ve worked harder than anybody to become rich and famous, but I remain poor and anonymous!”

Phonography was Stevie’s first official long player, recorded from 1973 to 1976 and originally released in 100 copies on the artist’s private Vital Records. Comes with lo-fi, direct input, overloaded electric guitar, a classical approach to warbly analog synth arrangements, hi-pitched erratic vocals, oddball skits that are genuinely funny, and an exceptionally fine gift for pop songcraft. Within a few listens you’ll hear traces of Brian Wilson, The Mothers, Gary Wilson, Daniel Johnston (especially on goofball cuts like “Goodbye Piano”), and Ariel Pink, a big fan who had R. Stevie open up his recent tour.

The opener, “Melbourne,” sets an unexpected stage: an anthemic introduction on an Elka synthesizer. Then Stevie shares a few words about his background whilst taking a piss!  The album is schizophrenic, but wonderfully listenable, even through a thick wall of magnetic tape. The beauty is in the fidelity, Moore recognizes what’s special about home recordings, and the record’s flow is engaging rather than plain weird.

Phonography record is finally available on vinyl again, remastered by Sundazed from R. Stevie’s original reels with the restored Vital artwork and insert. Earlier this year a CD version was reissued by Recommended Records in the UK and it’s available on iTunes as well.

Phonography is a record like no other, and merely an introduction to the incredible world of R. Stevie Moore. Find more than you could ever handle at rsteviemoore.com.

“I Want You In My Life”

:D CD Reissue | 1998 | Flamingo | rsteviemoore.com ]
;) MP3 Album | download at amzn ]
8-) Spotify link | listen ]

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The Byrds “Ballad Of Easy Rider”

| Country Rock,Folk

Ballad of Easy Rider

Ballad of Easy Rider was one of two great Byrds’ albums to be released after the groups’ acknowledged heyday (Mr. Tambourine Man to Sweetheart of the Rodeo).  Released in 1969, before the excellent double set Untitled, Ballad of Easy Rider was a quiet, tranquil record with good songs and fine, professional performances.  By this time Clarence White was a full-time member and the group was looking to rebound from their prior release, the uneven Dr. Byrds and Mr. Hyde.

Ballad of Easy Rider kicked off with the title track, two minutes of beautiful countrified folk-rock that was notable for its stately orchestration.  This was definitely one of the latter group’s finest performances and legend has it that Dylan wrote half the lyrics down on a napkin (McGuinn naturally finished up the song).  Perhaps the album’s most popular track was the gospel influenced “Jesus Is Just Alright,” a fine pop number in it’s own right that reached the lower regions of the charts.  There were great covers of “Tulsa Country” (country-rock with excellent guitar work from Clarence White), “There Must Be Someone I Can Turn To” (a classic Gosdin Brothers‘ track), “Jack Tarr The Sailor” (a sea shanty folk-rocker with stinging electric guitar and banjo) and Woody Guthrie’s “Deportee.”    The story behind “There Must Be Someone I Can Turn To” is rather interesting. One night Vern Gosdin came home after playing a gig to find his house completely empty.  His wife and kids were gone along with the furniture and there was a goodbye note from his wife.  With this in mind, Vern sat down and wrote “There Must Be Someone I Can Turn To.”  The Byrds decided to include this number into their set because of its meaning and emotional power.

The originals on Ballad of Easy Rider are also impressive.  “Fido,” written by John York is a funky number about a stray dog.  There’s a brief drum solo and some strong guitar riffs, it’s unlike anything the Byrds would ever record.  “Oil In My Lamp” showcases a Clarence White vocal and is an excellent country rocker with a very laid back, rustic feel (with more great guitar riffs).  The best of the bunch is “Gunga Din,” a minor Byrds’ classic with Gene Parsons taking lead vocals and really great finger picking via Clarence White.  It almost seems as if Roger McGuinn relinquished his leadership role in the Byrds to let Clarence White take the spotlight on Ballad of Easy Rider. 

I think it’s wrong to assume the Byrds were dead after Sweetheart of the Rodeo.   Many fans suggest this version of the Byrds was less innovative and lacked a strong songwriter.  While the Byrds did write fine original material they were also known as great interpreters of folk and country material.  I must point out that these latter day Byrds were known to be a great live band (probably the best in the group’s history), featured one of the era’s finest guitarists in Clarence White, and released two classic country-rock records.  This is one of them.

“Jack Tarr The Sailor”

:D CD Reissue | 2008 | Sbme | amazon ]
:) Original Vinyl | 1969 | Columbia | ebay ]
;) MP3 Album | download ]

uReview: Bob Dylan “Self Portrait”

| Folk,Pop,uReview

Self Portrait

allmusic: 2 stars
Robert Christgau: C+
Rolling Stone’s Greil Marcus: “What is this shit?”
Rolling Stone today: 4 stars

TRS uReview:
[ratings]

mp3: Wigwam

:D CD Reissue | 1989 | Sony | buy amazon ]
:) Original Vinyl | 1970 | Columbia | search ebay ]

Rodriguez “Cold Fact”

| Folk,Psych

Cold Fact

Cold Fact by Sixto Rodriguez was recently reissued by Light In The Attic – an excellent reissue at that.  Over the past few years this lp has gained quite a reputation, probably due to its unique sound, which is still fresh even by today’s indie rock/folk-rock standards.  Cold Fact was originally released by Sussex in 1970 and while it didn’t sell too well in the U.S. , the record gained a new lease on life in 1971 when A&M repressed the lp in Australia, South Africa, and New Zealand – where it sold well (he would eventually play to sell-out stadium crowds in South Africa!).  Rodriguez was born in Detriot MI, his parents were both Mexican immigrants – his first name was chosen because he was the sixth child. 

Cold Fact is a s0lid record all thru – a real four star gem. One can tell that Dylan was a major influence but this should by no means discredit  Rodriguez’s originality and talents as a songwriter.  The album led off with “Sugar Man,” a drug addled masterpiece full of intriguing lyrics, twisted electronic sound effects, and soulful vocals.  “Sugar Man” is a very dark composition that has stood the test of time well and probably the lp’s standout track – a true classic.  Other tracks are worthwhile though like the fuzz guitar driven garage rocker “Only Good For Conversation” or the horn laden “Crucify Your Mind.”  “Hate Street Dialogue,” “I Wonder,” and “Forget It” are also excellent with good accoustic melodies and lyrics that really hit home hard.  This is real outsider music that is sung so eloquently and played so well it’s almost hard to notice the despair – you really have to listen to the lyrics. 

Prior to the Light In the Attic reissue there was a so/so RCA repress from the late 80s.  Light In The Attic have done a great job with Rodriquez and will also be reissuing his second lp, Coming From Reality.  Cold Fact is singer-songwriter material at its best with beautiful vocals, catchy songs, string and horn arrangements that compliment rather than harm, great downer lyrics, and just the right amount of psych-folk residual.  Distinctive soul searching stuff.

“Sugar Man”

:D CD Reissue | 2008 | Light In The Attic | buy from attic | amazon ]
:) Vinyl Search | ebay ]

Gene Clark “No Other”

| Country Rock,Folk,Pop

No Other

Barely understood when it was released in 1974, No Other is Gene Clark’s most polarizing record but generally considered essential today.

Almost every song an epic, Clark’s songwriting was never up for debate, nor his genuinely poetic verses, but it’s Thomas Jefferson Kaye’s production that would weed out hordes of would-be fans. I contend the producer made only one mistake: the use of “power gospel” backing vocals on every track is probably what turns most people off to No Other. Strike the voices and this record would be hailed as a mid-70s masterpiece for Clark’s efforts as much as its lush, candied orchestration.

The record starts off without skipping a beat from the Clark oeuvre; “Life’s Greatest Fool” sounds like a natural step forward from his earlier country rock. The supporting musicians are perfectly in tune with the vision; I want to dig in deeper with the sound every listen, so I hardly consider it overcooked. One tune does embody Gene’s new super-glam image in sound, where you can “hear the cocaine” churning the record: the sinister title track, “No Other,” is slathered with sleazy synth lines and electric guitars. Whether for camp or pure songcraft it’s an irresistable jam and centerpiece of the record.

All of the numbers possess the signature Gene Clark sound. Say when he waits for “Strength Of Strings” to reach full crescendo before sinking into his minor-tinged verse with that untouchable heartworn vocal. Clark is one of the world’s greatest songwriters, his skill in transforming traditional progressions to his unique brand of song unmatched.

Give this record the right chance and you’ll reach the point where you appreciate every overdone detail, down to the gorgeous sleeve and awesomely hideous poster of Gene decked in flowing garments, beads, and makeup in front of an airbrushed Gene Clark monument. I only have the record, but the CD resissue is reportedly worth it for the alternative versions and “Train Leaves Here This Morning,” a retake from the Expedition.

“No Other”

:D CD Reissue | 2003 | WEA/Rhino | amazon ]
:) Orig Vinyl | 1974 | Asylum | search ebay ]
8-) Spotify link | listen ]

Buck Owens And His Buckaroos “Bridge Over Troubled Water”

| Americana,Country Rock,Folk

Bridge Over Troubled Water

Bridge Over Troubled Water (Capital, 1971) wasn’t Buck’s first foray into rock n roll music.  In 1957 he cut a handful of rockabilly sides under the name Corky Jones – and good sides they are!  Buck had once vowed to “sing no song that is not a country song” but in 1965 he released a great charging version of Chuck Berry’s “Memphis” on the classic I’ve Got A Tiger By The Tail lp.  Some fans felt that he had broken his pledge by covering “Memphis” but Buck didn’t see it that way: “I see Memphis as being rockabilly.  Listen to the lyrics….If they’re not country lyrics….the melody – if that ain’t a country melody….” I’ve Got A Tiger By The Tail along with 61’s Sings Harlan Howard and 66’s The Carnegie Hall Concert are usually what fans cite as his best ever lps.  These recordings went a long way in establishing the Bakersfield Sound and making Buck Owens a household name.

Bridge Over Troubled Water is not on par with the above classics.   It’s a good record though with some interesting experiments that see the Buckaroos trading in their beloved Telecasters for an acoustic folk-rock sound – though country music is still their foundation.  The album is roughly divided between covers of current rock standards and Owens originals.  The production is beautiful, the guitar work is stellar, Buck is in great voice and the harmonies are nothing short of amazing.  There’s the occasional organ or Moog but for the most part the arrangements are sparse and the playing is less aggressive when compared to earlier records.  My only complaint is the weak cover of Simon & Garfunkel’s “I Am A Rock” and the album’s short running time, which hovers around the 25 minute mark.  Renditions of the title track, “Love Minus Zero,” “Homeward Bound,” and “Catch The Wind” are suprisingly good.  “Catch The Wind,” with its droning Moog and angelic vocals is so good it may even surpass the Donovan original.    Buck’s own material blends nicely with the above mentioned tracks, making this a strong listen all the way thru.  All the original material is good, though “Within My Loving Arms,” “The Devil Made Me Do That,” “San Francisco Town,” and “Everything Reminds Me You’re Gone” stick out for their contemplative approach, brittle acoustic guitars, and gorgeous harmonies.  Throughout the album Buck’s vocals are world weary, it’s a quality that makes this record special.

Buck would take some heat from the C&W squares for revamping his style and covering current rock n roll songs.  But the C&W crowd would prove to be wrong over time as Bridge Over Troubled Water reeks class and Bakersfield sophistication.  It was this willingness to experiment that made Buck and his group so great and pioneering.  This open-minded approach has made the Buckaroos music age so well whereas many of their contemporaries sound dated and hokey.  In 2004 Sundazed released this solid album on cd, it’s certainly well worth a spin for fans of country-rock.

“Within My Loving Arms”

:D CD Reissue | 2004 | Sundazed | buy from sundazed | amazon ]
:) Original Vinyl | 1971 | Capitol | search ebay ]

Fred Neil “Fred Neil”

| Folk,RnB

Fred Neil

From the clatter of the Greenwich Village 60s folk scene came a voice that was inspired, authentic, and extraordinarily deep. Freddy Neil had one of those unmistakable voices, a baritone that could rumble your brain and leave cracks in your spine. Add to that the skills of one of the better blues-folk songwriters; his songs were covered by Karen Dalton, Harry Nilsson, Jefferson Airplane… anybody who knew their stuff.

Released in 1967, Fred Neil is moody, soft, and dark, but shimmers in beautiful electric sound. It lives within the pinnacle of styles from which Freddy would draw his influence: Brill Building chops, cold hard blues, good old folk song, and raga spiritualism. The ten original compositions heard here are masterpiece quality pens. “Everybody’s Talkin'” would put the voice of Nilsson forever in popular knowledge thanks to Midnight Cowboy; Fred refused to sing for the movie and his unornamented version is a refreshing listen. Neil harbored a genuine love for dolphins, championing their causes throughout his life, and recording his dreamy ode to open the record. I harbor a specific love for the bluesy standard, “That’s The Bag I’m In” and songs like “Faretheewell (Fred’s Tune)” are too precious for my description.

Neil was a father figure to many integral players in the folk, blues, and rock movements, cited as an influence by folks like David Crosby and Bob Dylan. Go grab this essential LP if it isn’t already in your collection.

“The Dolphins”

:) Original Vinyl | 1966 | Capitol | search ebay ]
:D CD Reissue |  200 6 | Water | amazon ]

Jerry Jeff Walker “Bein’ Free”

| Americana,Country Rock,Folk

Bein' Free

This one, his 4th solo, was recorded after Mr. Bojangles, Driftin’ Way of Life, and Five Years Gone. He would imprint his legacy on the next one, Jerry Jeff Walker (an Austin masterpiece), but bridge from his drifter-folk career with Bein’ Free, by no means just a three star record.

He kicks it off with a customary party track, “I’m Gonna Tell On You.” This song embodies the “gonzo” sound, with a crew hollering background choruses and one-liners, a perfectly loose feel, boozy grin on your singer’s face. “Stoney.” “Nobody’s.” “But For The Time.” Hard not to fall for the heartfelt Jerry songs. “Harmonica Talk” is pretty awesome, a trio of hambone, jaw harp, and harp riffs. “Please Let Me Be” is especially interesting with sandpaper blocks, harpsichord, and some fantastic pipey (synth?) sounds I can’t even make out.

“Some Go Home,” one of “Jerry Jeff’s train songs” was the track that got me early on; JJ’s no slouch on a storyteller and this is kind of a precursor to “Desperados.” Bein’ Free is a special album, the kind that benefits from vinyl’s hum and crackle. I’m sure the CD sounds just fine.

Q: Any other fans out there? Care to list your top three JJW songs or records?

“Some Go Home”

;) MP3 Album | download Bein’ Free ]
:) Original Vinyl | 1970 | ATCO | search ebay ]
8-) Spotify link | listen ]

Click Horning “Click”

| Americana,Folk,Psych

Click Horning Click

This album is officially out of print though I bought a cdr copy off Click Horning’s website.  I think Click burned the music on this cdr directly from an original vinyl copy of Click, which was originally released on ABC records in 1968.  Prior to this he had released a worthwhile single or two, none which I have ever seen or heard before.  There had been rumors of a cd reissue which would include the album and singles/oddities, possibly by Sunbeam Records, though nothing has resurfaced since writing this review.  The album was recorded in New York City although Click is a native of New England and somewhat of a local legend in his hometown.  He currently lives in New Hampshire and plays every Saturday afternoon at Peter Christian’s Tavern in New London (try to check him out one night).

So what of the album?

In a day when all kinds of mediocre folk and acid-folk albums are being reissued by the dozen, Click holds up remarkably well for it’s quality songs, mysterious aura and unique originality.  Click’s lyrics are strange, eccentric and soul searching, just listen to Many Times Jimbo, perhaps the lp’s highlight and most well-remembered song.  This track is an acoustic number with lots of sitar and deep mystical lyrics:  “moonlight serenaders solemnly they sing” and “the ghosts of memories they haunt you.”  This is a remarkable song that’s very pastoral and exudes a strong sense of self-awareness: it’s one of the all-time great acid folk classics.  This track is followed by My Precious, a beautiful spacey ballad with flute and piano.  On this track Click’s voice closely resembles that of Nick Drake.  Most of the other tracks are less psychedelic but well performed and always interesting.  Crazy Hannah would be another one of the lp’s highlights.  This is a driving, playful number with fiddle, drums, piano and bizarre lyrics: “Crazy Hannah, yes, I knew her, so thin and frail, you could read a book right through her.”  Another track, Find It For Yourself, sounds remarkably like Beck (from the 90s) while For Judith, To Paris and See That My Children Got Warm Clothes are striking if unconventional folk-rock ballads.

If you’re into esoteric late 60s folk-rock this is a great unknown album.  Click Horning is a true original, it’s a shame none of his material has been made available for a wider audience.

“Crazy Hannah”

:D CDR Copy | clickhorning.com ]