THE RISING STORM

Most country music is geared toward tear-in-the-beer stylings, but no other country album makes me sob into my Budweiser quite like Sold American. And not because it’s overtly sad – Kinky Friedman is a fearless humorist who turns racist rednecks and rough treatment into comedic gold – but because too much of this 1973 album still rings true nearly four decades later. In the vein of comedians like Lenny Bruce, Richard Pryor and Redd Foxx, Friedman shines a bright light on the bigoted, hypocritical underbelly of the land of the free, and uses every taboo word in the book to get the effect he’s after.

“Kinky Friedman… is on his way to becoming the first Texas-Jewish country music star,” proclaims Newsweek from the back of the album cover. And if the delicious absurdity of that statement appeals to you, the songs surely will too. ‘We Reserve The Right To Refuse Service To You’ recounts Friedman being slurred and insulted out of a “bullethead cafe” by an intolerant restaurateur. ‘Highway Cafe’ has a chorus of “oh make it a corned beef on rye” and features two rednecks recounting a fatal trucking accident with infectious dumb laughter (“AHAHAHAHA AHEEHEEHEEHEE”). ‘Get Your Biscuits In The Oven And Your Buns In The Bed’ is an anti-feminist rant the likes of which is unimaginable today, while the title track is a wistful, beautiful ballad about a fading America, that could serve as the theme song for PBS’ Antiques Roadshow. Like the rest of Sold American, ‘Ride ‘Em Jewboy’ is both lovely and ludicrous.

In 2006, Friedman mounted a serious, and seriously offbeat, campaign for governor of Texas. Campaign slogans included “He ain’t Kinky, he’s my Governor” and “My governor is a Jewish Cowboy” and Friedman qualified himself thusly: “Musicians can run this state better than politicians. We won’t get a lot done in the mornings, but we’ll work late and be honest.” He pulled a respectable 12.6% of the vote and finished fourth out of six candidates. Friedman might be a funny Jewish cowboy, but he’s a also a thoughtful, driven Texan who has made Lone Star statements like “If you ain’t Texan, I ain’t got time for you.”

Like his politics, Friedman’s music might appear silly, but it’s ultimately serious stuff. His band featured top-notch Nashville session musicians like guitarist Norman Blake and pianist David Briggs, and this music is as polished as a new mandolin. But nobody else in Nashville (or anywhere else for that matter) was singing ballads about Texas Clock Tower shooter Charles Whitman or suggesting we roll Jesus into a big fat doobie and get high on religion. Friedman’s funny, but in the end the joke’s on us – racism, mass murder, religious intolerance, misogyny, hyper-materialism. Kinky Friedman may have held his fun house mirror up to this country in 1973, but the songs remain the same…

mp3: We Reserve The Right To Refuse Service To You
mp3: Sold American

Original Vinyl | 1973 | Vanguard | search ebay ]
CD Reissue | 2003 | Vanguard | buy at amazon ]

The Genuine Imitation Life Gazette is as good as (if not better) than many of the more vaunted psych pop creations.  The songwriting is dense, adventurous and very strong this time around.  Like all great legends, Frankie Valli comes through in a big way, delivering some of the best vocal performances of his career.  The harmony singing is breathtaking, never straying too far from what made the Four Season’s such a great mid 60s vocal group (they were often called the Beach Boys of the East!).  Three songs exceed the 6 minute mark and are epic productions but the shorter psych pop numbers are just as good.  The Genuine Imitation Life Gazette is no cash-in effort or group attempt at jumping on the psychedelic bandwagon, it’s the real deal.  Backward cymbals, phasing and other means of studio experimentation simply add to the group’s strong pop sensibility.  Great hooks, quirky ideas and powerful performances keep this LP grounded – things never sound forced, bloated or too psychedelic. Great pop songs like “Something’s On Her Mind,” “Mrs. Stately’s Garden,” “Saturday’s Father,” and the extended title track expand on the group’s mid 60s sound.

Consistent and original, The Genuine Imitation Life Gazette is a terrific LP that always seems to slip thru the cracks. It goes without saying that this is the best LP the Four Seasons ever released.   This is also the achievement that Frankie Valli is most proud of;  in 2002, Goldmine interviewed Frankie Valli who reflected on the album’s lack of success: “We talked about some of the social problems on that album. Nobody was expecting anything like that from us. The record company wasn’t very pleased with the fact that we turned in an album like that. They didn’t do very much work on it. It certainly is an album that I’ve always been very proud of. I wouldn’t call the album exactly psychedelic, [although] it did have kind of a flow or a taste of that. “Wall Street Village Day” was an incredible song. “Soul Of A Woman” was another really great song, and the title song, “Genuine Imitation Life,” is also great. Of all the bands out there, we have touched on almost every kind of music that there is. Everything from “Sherry” to the album Genuine Imitation Life Gazette to touches of jazz with “Swearin’ To God” to “My Eyes Adored You” to “Can’t Take My Eyes Off Of You” to “Who Loves You.” I don’t know many acts out there who have done it as successfully as we have done it.”  Four Season main songwriter Bob Gaudio also had some thoughts on the record: “One of the disappointments of our career for me on a creative level was the Genuine Imitation Life Gazette album. It was just something that I had to do at that time. It got wonderful reviews, but obviously it was not an acceptable piece from us. Everybody was expecting Top 40.”

Long time fans usually write Gazette off because it’s a departure from the group’s signature sound.  Dealer’s tend to overlook this classic because it’s an LP by a group who was never considered to be hip, making Gazette a cheap, easy to find score.  Prepare to be surprised.

mp3: Mrs. Stately’s Garden
mp3: Saturday’s Father

Original Vinyl | 1969 | Phillips | search ebay ]

The history of this MIA sixties popsike gem seems to be better known than the music itself, possibly
because it’s such a quirky tale. Almost immediately after the runaway success of Procol Harum’s
first 45 rpm outing, “A Whiter Shade Of Pale”, in the summer of 1967 drummer Bobby Harrison
and guitarist Ray Royer left the band for reasons undisclosed but amid very public rancour, in the
wake of co-manager Jonathan Weston who had been fired just previously. Enlisting the youthful but
experienced Mike Lease on Hammond and piano plus unknown teenager Steve Shirley on bass and
lead vocal, Harrison christened the new outfit Freedom, possibly as a snipe at Procol. While they
rehearsed at Weston’s house, the manager somehow obtained for them a commission to produce
the soundtrack for an upcoming erotic movie by Italian avant-garde director Dino Di Laurentiis. This
would be virtually dialogue-free, with the soundtrack’s lyrics providing the principal characterisation.
The recordings for this challenging project took place at London’s Olympic Studios over two months,
produced by Lease and engineered by Glyn Johns, no less, and Eddie Kramer, future producer to
Jimi Hendrix. The film was entitled Nero Su Bianco (or Attraction/Black On White for release outside
Italy). The band actually appeared in the film, miming the songs as a commentary to the action. It’s
not explained how Italian audiences were expected to cope with the English lyrics.

The movie predictably stiffed everywhere outside its native country, and found only an art-house
audience at home. The music would have disappeared along with it, no release on record ever
having been intended. However, Atlantic Records had issued an album of the soundtrack in 1969
in Italy only, totally without the band’s cognizance, and this was picked up thirty years later by
the new generation of UK psych rarity anoraks, finally finding a general release as Black On White
on the Angel Air reissue label. As for Freedom, Weston had finally secured them a recording deal
with Mercury in 1968 under which a single “Where Will You Be Tonight” appeared, but its chart
failure and that of a subsequent single “Kandy Kay” on EMI’s German Plexium imprint, plus rising
antagonism between founder members Harrison and Royer, led to the band’s demise early the
following year. Harrison went on to lead a new and very different Freedom which produced several
albums in a typical early-70s hard-rock style.

The music on Black On White will not sound unfamiliar to Procol Harum devotees, being heavily
keyboards-based with Shirley’s soulful lead vocals reminiscent of Gary Brooker, although perhaps
nearer to Greg Lake. The general feel is however more funky and less bombastic than Procul of the
same period, maybe closer to early Traffic. It owes its psych credentials to the mildly lysergic lyrics
and to the use of string-quartet backings, harpsichords and other pop-Baroque touches, rather
than to studio trickery, this being limited to modest if ubiquitous flanging. There are no obvious
highlights, all tracks being of a uniformly excellent quality both in the songwriting and in the playing.
The 2009 CD re-release includes all thirteen cuts from the original soundtrack, plus both sides of the
Mercury single and some alternative mixes.

mp3: The Better Side
mp3: Born Again

CD Reissue | 2009 | Angel Air | buy at amazon ]
Original Vinyl | 1969 | Atlantic | search ebay ]

Full House marked the consolidation of Fairport’s transition from West Coast-styled, hallucinogenics-
influenced outfit – a British Jefferson Airplane, perhaps – to purveyors of rocked-up, electrified
British traditional folk, a courageous move tentatively started with the inclusion of “A Sailor’s Life”
on Unhalfbricking and triumphantly completed on Liege And Lief, perhaps the most influential and
important UK rock album to appear since Sergeant Pepper. But Fairport had then lost arguably its
two most important contributors, founder and direction-setter Ashley Hutchings and crystal-voiced
frontwoman Sandy Denny. New bassist Dave Pegg proved a valuable acquisition with his rocky style,
but the other members had to close ranks and take on the vocal chores themselves. They did so,
with an initial naïvité that retrospectively evinces considerable charm, Richard Thompson and Dave
Swarbrick proving to have distinctively different rural vocal deliveries and Simon Nicol reluctantly
airing a melodious tenor that would eventually see him become the band’s leading voice.

The other element that newly marks Full House out is the humour and looseness which its illustrious
predecessor lacked. With talented but earnest female vocalist Denny no longer having to be
accommodated and adulated, the boys were free to have some fun, and it comes across in these
grooves, notwithstanding the doomy themes of some of the lyrics: songs about sexual exploitation,
sin and death can be funky, as “Doctor Of Physick”, “Sloth” and “Sir Patrick Spens” show. I recall
seeing this line-up play the Bath Festival Of Blues And Progressive Music at Shepton Mallet in 1970,
and the high jinks on stage would not have been on display a year earlier.

“Walk Awhile” is a wonderfully swinging opener, with all three lead vocalists taking turns at the
verses and fine, fiery harmony and octave work between Thompson’s guitar and Swarbrick’s
violin. “Sloth” is an ominous, downbeat death march that builds to an almost unbearable tension in
the lengthy instrumental break as Thommo’s edgy Strat and Swarb’s compressed, wailing fiddle duke
it out in opposite stereo channels: perhaps the best instrumental work the band ever produced. The
two cheerful jig medleys offer a variety of familiar and little-known traditional tunes, forefronting
Swarb’s and Peggy’s duelling mandolins on “Flatback Caper” and all four string players on “Dirty
Linen”. “Spens” is a gloriously disrespectful, steady-rollin’ take on that revered Scottish traditional
ditty, while Nicol’s amplified dulcimer provides the backbone for that country’s mournful anthem
for the dead, “Flowers Of The Forest”. The Island CD re-release offers a number of bonus tracks,
including the unnecessarily lugubrious “Poor Will & The Jolly Hangman” that had been removed
(probably wisely) from the original pressing at the last moment at the insistence of its writer,
Thompson, and the brief but excellent non-album single “Now Be Thankful”, one of the band’s
evergreens.

Full House is arguably Fairport’s last really great album, its release being followed by the departure
of Thompson for a solo career and his replacement by Jerry Donohue, whose elegant Nashville style
prefaced a gentle slide in the direction of country rock. Henceforth Swarbrick would take over the
band’s direction as the quality gradually declined until his own departure, when Nicol as the last-
standing original member would take the reins. After countless further line-up changes and albums
the band remains extant and much-loved to this day, with its annual outdoor reunion at Cropredy in
Oxfordshire attracting swarms of the faithful.

mp3: Walk Awhile
mp3: Sir Patrick Spens

CD Reissue | 2001 | Island | buy at amazon ]
Original Vinyl | 1970 | Island | search ebay ]

Definitely not what I was expecting from a 1974 private pressing with a strangely modern sleeve and a pedal steel guitarist. News, who were four or more lads from Yale University, had the late 60s sound nailed down five years too late, but who’s to complain about a throwback to the best era in rock history? Hot Off The Press is a unique and unknown LP featuring super tight performances, lovely four-part harmonies, and songs that won’t take long to get comfortably lodged in your head.

Kicking off with a pysch-flavored spliced radio parody performed by some of the band members, Hot Off The Press gets right into its first sweet spot with “Loser,” showcasing Mark London’s expert and refreshingly twang-free steel. Throughout the record’s nine songs he has no trouble fitting the instrument in with a pop/rock sound, and essentially designs the rare flavor of this record with soaring, jazzy licks. There are a couple pretty tough rockers, and I must agree with Llama where he labels “One Night Stand” a “so-so Creedence ripoff.”  But lighter fare like “Ooo La La” and “Misty Day” (one of the band’s first songs) groove with the sunny sound of Montage. I love the jabber at the end of optimistic bopper “Easy Street:” “…somebody’s way off key…I was doing a 7th,” which adds just the right amount of silliness to this laid-back affair. “Farmer’s Daughter” gets bonus points for the album’s second Beach Boys reference and “New York City” ends the original lineup with an 8-minute jam that finally belies News’ sixties psych disguise. Bonus tracks include the 60-second radio bed that got the band their first shot in the recording studio (1970) and an early demo recording of “Misty Day.”

The CD package is a mini-repro as faithful to a vinyl sleeve as I’ve ever seen, the extensive details of the News story told by principal songwriter Bob Pretcher in the liners. But if you’re willing to shell out some bucks, I’d say go for one of the limited 1974 sealed pressings available direct from Yoga Records. Don’t miss this excellent reissue.

mp3: Ooo La La
mp3: Easy Street

CD Reissue | 2010 | Riverman/Yoga Records | buy from yoga ]
Original Vinyl | 1974 | private | ]

(56 votes, average: 8.30 out of 10)

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I’d be happy to see a uReview for every Byrds record in the discography (excepting Maniax), seeing as they’re one of the house bands around here, but it’s the middle of country season and I wanna hear your honest opinion on this one. Are you all about Sweetheart or did you never quite get it? Is this really the landmark country-rock record (does it even deserve the ‘rock’ tag)? If not this, then what?

mp3: Radio Spot – Sweetheart Of The Rodeo

CD Reissue | 2003 | Sony | amazon ]
Original Vinyl | 1968 | Columbia | ebay ]

The UK didn’t produce garage bands; in post-austerity Britain few enough people had cars,
let alone covered accommodation for them. The Brit equivalents cut their teeth during the
early sixties in youth clubs or in the few schools whose music teachers were sufficiently
broad-minded to admit that anything more recent than Elgar was actually music. In these
restrictive settings a rash of teenage groups got together on cheap instruments to bash out
joyous covers of the black American underground sounds recently imported by merchant
seamen and cult blues enthusiasts. The Animals in Newcastle, the Rolling Stones in
Dartford, the Spencer Davis Group in Birmingham and those four lads in Liverpool all offered
their own distinctive takes on R’n’B, coloured by their preferred influences: Berry and Diddley
for the Stones, Hooker and Jimmy Reed for the Animals and the Spencers, Tamla and
Arthur Alexander for the Fabs. The Mark Leeman Five chose to enhance their R’n’B with
a smattering of funky jazz via the likes of Booker T, Ray Charles and Nina Simone, mostly
courtesy of their trump card, the splendid acoustic/electric pianist and occasional organ
player Terry Goldberg. Along with the spiky guitar of Alan Roskams and the solid rhythm
section of David Hyde (bass) and Brian Davison (drums) came the aggressive, punky pipes
of Mark Leeman.

The Five assembled at school in Woolwich in 1961, and their initial influence was clearly Joe
Meek judging by their first demo single. The second covered Barrett Strong’s “Money” – well
before the Fabs got hold of it – and indicates their change of direction. Sometime in 1963
they cut an eleven-track demo album which was two years ahead of its time and didn’t find
a sponsor. Undaunted, Leeman and the lads built up a formidable live following around the
capital until spotted by Manfred Mann’s manager Ken Pitt in January of the following year;
an impressed Pitt subsequently ensured prestigious support slots to the Manfreds. Twelve
months later a single “Portland Town” b/w “Gotta Get Myself Together”, the latter benefitting
from harp by Paul Jones, finally hit the record racks. Five months further on, and tipped
by their peers as the band “most likely to succeed”, the Five’s train hit the buffers when
Leeman was killed in a car crash on his way home from a gig in Blackpool. Vocalist Roger
Peacock was recruited to replace him, but as a tribute to their former frontman the band
kept the same name. Three further singles were released, but the zeitgeist was past and the
Five folded within a year. The only member to find subsequent celebrity was Brian “Blinky”
Davison, who went on to thump the tubs with the Nice.

The Five’s recorded oeuvre remained in limbo till 1991, when with Ken Pitt’s assistance
See For Miles released this compilation which includes both sides of the two early demos,
both sides of the four later singles and the whole of the demo album (allegedly previously
unreleased, although I’ve found reference to it as Rhythm And Blues Plus!, including cover
art, on one website: possibly a few pressings did escape). The three final singles, produced
by Denny Cordell, are competent, unremarkable Manfred-ish fare, deliberately commercial.
The second demo single and the album are revelatory; though all the tunes are covers,
the musicianship is impressive and the energy is astonishing, the latter blasting through
the unpolished but surprisingly clean production. Goldberg’s stomping electric piano take
on “Green Onions”, IMHO, blows the original away. His boogie-woogie piano and Roskams’s
bluebeat guitar power a fine, edgy rendition of Simone’s “Forbidden Fruit”, while “Work
Song” and “Let The Sunshine In” hold up easily against the better-known versions by
Mose Allison and Ray Charles. The straightforward R’n’B cuts include the overworked
staples “Shame, Shame, Shame”, “Got My Mojo Working” and “You Can’t Judge A Book”,
but the Five attack these as if they’d never been heard before, with Goldberg’s piano always
to the fore.

The Memorial Album has never seen a re-release and is now hard to find; I picked up my
copy in a record store clearout some ten years ago. However, copies can be found at a
price, and both collectors with an ear for early British Invasion influences and fans of quality
R’n’B garage music from the Animals to the Mysterians should hunt down this fine early
example of the genre.

mp3: Green Onions
mp3: Forbidden Fruit

CD |  1990 | Sfm | at amazon ]

Note: Today’s post comes from dk, author to one of the finest vintage music blogs around: dk presents. Don’t miss subscribing over there and look forward to some more Storm reviews from dk in the future.

The story of Mac Gayden’s Skyboat is one of bad promotion, bad cover art, and bad luck. Gayden was a top-notch Nashville session guitarist who made an uncredited appearance on Bob Dylan’s Blonde On Blonde, played the distinctive slide guitar on J.J. Cale’s ‘Crazy Mama’, and wrote hit songs such as ‘Everlasting Love’ (part of which he claims to have written on his grandmother’s piano when he was just five years old). This 1976 album is a pleasing amalgamation of many 70’s musical styles – country rock instrumentation, soulful vocals, pop sheen (string charts courtesy of Bergen White), and an overall singer-songwriter sensibility. Wedged stylistically between Cat Stevens and Poco, Skyboat should have been Gayden’s breakthrough.

Instead, paint-by-numbers promotion men in Los Angeles saw a Nashville artist and assumed Skyboat was a country record, which it most definitely is not. By pushing this album as country and sending it out exclusively to country stations, ABC Records effectively ensured its doom. And there’s no way to put this kindly – that album art is atrocious. The awkward creature flying across that cover is in no way representative of the 11 highly-polished cuts on this record, and certainly didn’t help its cause.

Opener ‘Morning Glory’ has hit written all over it. One of the great lost tunes of the ’70s, this song is so good that you’ll sing along the first time you hear it. Gayden shows off his considerable guitar chops in two places on this song, but particularly on his solo near its conclusion. Sublime stuff. ‘Gettysburg’ is a stirring, minor-key, banjo-tinged ode to the South that was recorded in a thunderstorm and sounds like a blueprint for Will Oldham’s career. Gayden lays down his own version of ‘Everlasting Love’ (since covered by nearly everyone, including U2), which ironically might be the least heard of the many versions in circulation. Elsewhere, ‘Don’t Look Back’ is a bold re-wiring of a Temptations’ song that makes perfect sense in this context, and ‘Diamond Mandala’ closes the album with 10 minutes of Appalachian fever dream that conjures Sandy Bull, Aaron Copland and Native American spirit dances.

Gayden told Mojo magazine in 2002 that “By the time [radio] realized the album [wasn't country] it was too late, and many stations refused to play the record because of ABC, not because of me. It put an end to my career… so I do have some bittersweet memories.” The memories might be bittersweet, but the music is pure nectar…

mp3: Morning Glory
mp3: Gettysburg
mp3: Everlasting Love

CD 2fer | 2008 | Big Beat | buy at amazon ]
 Orig Vinyl |  1976 | ABC | search ebay ]

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1.  Hank Williams – Lonesome Whistle (1951) from Revealed: The Unreleased Recordings

2.  Lee Hazlewood – Dark In My Heart (1967) from Lee Hazlewoodism, Its Cause and Cure

3.  Addie Pray (Bill Lincoln from Euphoria) – Wings In The Wind (1970-1971) from Late For The Dance

4.  Elyse (with Neil Young) – Houses (1969) from Elyse

5.  The Youngbloods – Foolin’ Around (The Waltz) from The Youngbloods (1967)

6. J.J. Light – Gallup, New Mexico (1969) from Heya!

7.  Roscoe Holcomb – Coal Creek (date unknown) from An Untamed Sense of Control

8.  Buffy Sainte-Marie – Poppies (1969) from Illuminations

9.  Bert Jansch – Cluck Old Hen (1974) from LA Turnaround

10.  Graham Nash & David Crosby – Frozen Smiles (1972) from self-titled LP

11.  Ry Cooder – France Chance (1970) from Ry Cooder

12.  John Simon – Did You See? (1970) John Simon’s Album

13.  The Beau Brummels – One Too Many Mornings (1966) from Magic Hollow Box Set

14.  Space Opera – Blue Ridge Mountains (1972) from Space Opera

15.  Pearls Before Swine – Ballad to an Amber Lady (1967) from One Nation Underground

16.  Muleskinner – Muleskinner Blues (1972) from Muleskinner

17.  Tim Buckley - Song to the Siren – Morning Glory – The Tim Buckley Story

18.  The Band – The Rumor (1970) from Stage Fright

The first incarnation of Deep Purple has tended to be ignored until lately, shaded by the
overwhelming success of Mark II which benefited from a homogeneous (and supremely
timely) musical direction and the outstanding talent of Ian Gillan. By contrast Mark I found
itself at a many-sided crossroads; musically the band was pulled in the conflicting directions
of freakbeat, psychedelia, retro-classical and nascent prog-rock, and perversely it enjoyed
unexpected early adulation in the States whilst remaining virtually unknown in its homeland.
Adverse critical comment of Mark I has only recently begun to ease, as the undoubted
attractions of some of the early works become retrospectively appreciated and the works
themselves remastered and reissued.

Even the beginnings of Purple were artificial, the band being conceived by ex-Searchers
drummer Chris Curtis as Roundabout, an ever-changing musicians’ combine, and sponsored
by two London businessmen looking for a purely commercial foothold in the pop market.
The Mark I lineup pulled in diversely-experienced, classically-trained session musicians
Ritchie Blackmore (gtr), Jon Lord (keys) and Ian Paice (drs). Bassist Nick Simper had played
rock’n’roll with Johnny Kidd and Screaming Lord Sutch alongside Blackmore, and vocalist
Rod Evans came with Paice from Mod R’n’B outfit the Maze. A unified direction was unlikely
from the start.

Following the clearly saleable example of Vanilla Fudge, the band developed a set
based largely on grandiose reinterpretations of known hit songs, subjected to Lord’s cod-
classical Hammond interludes, Paice’s jazzy percussion and Blackmore’s unique, manic
style of soloing involving heavy use of his Stratocaster’s whammy bar. The first album,
Shades Of Deep Purple, produced an unexpected US hit single with a rollicking cover of
Joe South’s “Hush”. This led rapidly to a second album and a prestigious support slot to
Cream on the latter’s final US tour. Meanwhile, the band couldn’t get arrested at home.
The Book Of Taliesyn (pronounced Tal-ee-ess-in) followed the pattern of Shades Of,
expending first-class musicianship over a confusingly diverse mix of styles, most of which
deserves more attention than it’s received. “Listen, Learn, Read On” is tautly-constructed
psychedelia with a semi-recitative vocal extolling the virtues of the tome in the album’s title
(Taliesyn was the bard at King Arthur’s court); Evans’s powerful vocal on this belies one
critic’s description of him as a “supper-club crooner”, although he does display Scott Walker-
ish tendencies on the string-quartet-enhanced ballad “Anthem”. “Kentucky Woman” is a
similarly energetic workout on the modest Neil Diamond tune to the earlier “Hush” which
would again feature in the US singles chart. “Wring That Neck” is a stereo-tastic proto-prog
instrumental in which Lord and Blackmore vie for supremacy; it portends the sound of In
Rock and would remain in the live set for years. Pretentious covers of “We Can Work It Out”
and “River Deep, Mountain High” segue out of equally bombastic classical themes in which
Lord displays the same leanings as Keith Emerson without the outrageous stagecraft; this
is the sort of “pomp-rock” material that’s reduced Mark I in the eyes of its later heavy-metal
acolytes. Perhaps the best track, “Shield”, is a funky, loping offering with an impenetrable
hippie (or possibly sci-fi) lyric, a catchy, almost oriental organ riff, and splendid guitar work
throughout which deserved to be a hit single in its own right.

Home success continued to elude Purple until the collapse of its US label, Tetragrammaton,
forced the band to return home, re-evaluate and regroup. Evans and Simper were fired and
replaced, and the rest is history. The first three albums, however, show that all the required
elements were in place; only the focus was missing. Avoid the earliest CD reissues and go
for the remastered (at Abbey Road) versions with bonus tracks.

mp3: Listen, Learn, Read On
mp3: The Shield

CD Reissue | 2000 | EMI | buy at amazon ]
Vinyl | 1968 | Harvest | search ebay ]

Del Shannon’s Home & Away was never properly released in its day.   These tracks would eventually see the light of day on a 1978 vinyl LP/compilation titled And The Music Plays On.  The record executives of the time were looking for heavy, psychedelic underground sounds, not dense, wall-of-sound type productions that included complex vocal arrangements, strings, harpsichords, and plenty of horns.  The music on this disc was recorded in 1967 with Rolling Stones’ manager Andrew Loog Oldham in the producer’s chair.   Home & Away was considered passe stuff for 1967 and shelved shortly after, as Del began work on his psychedelic masterpiece, The Further Adventures of Charles Westover.  The 2006 EMI reissue has excellent stereo sound and presents the LP in it’s proper context – a must own for fans of  the mid 60s Beach Boys, the Zombies and the Left Banke.

It’s useless to point out highlights on this great, lost pop album.  “Runaway ‘67″ is exactly what it claims to be; Del’s classic hit updated for the sounds of 1967.  The arrangement has a strong Left Banke feel with it’s swirling strings and baroque arrangement.  Del’s vocals sound haunted and seamlessly mesh with Oldham’s productions.  They hit the mark on every track.  This means that each song on the album works beautifully, whether it’s the trippy harpsichord intro to “Easy To Say, Easy To Do” or the romantic pop of “My Love Is Gone.”   My hit picks are the shimmering psychedelic pop of “Silently” and the beautiful Pet Sounds influenced gem “It’s My Feeling.”  Del only penned 3 of the LP’s tracks but he and Oldham did a good job choosing fine material from outside writers - the 3 Billy Nichols selections are pop gems.

Home & Away is just a shade or two less important than The Further Adventures of Charles Westover. It’s proof that this type of early 60s rocker could forge on into the experimental environment of the late 60s and make great music.  Del Shannon is one of those hard luck artists who made excellent music all throughout the decade but never received his due.

mp3: It’s My Feeling (2006 Digital Remaster)
mp3: Silently (2006 Digital Remaster)

mp3: I Go To Pieces
mp3: Ginny In The Mirror

CD Reissue | 2006 | EMI | get at amazon ]