weed, whites and wine

Tribute Album for Beginners

2010-07-16T09:14:00.001-07:00

I can't stand tribute albums. Well, normally that's the case. Mostly they just fail to live up to the greatness of whomever or whatever they are attempting to pay tribute to. Usually it has to do with a lack of focus: too broad a spectrum of performers covering a wide range of styles by a particular artist and there's usually some song that just outright sucks, which makes it hard to listen to as an album.

Folkyeah and Grass Roots Records are responsible for this Graham Nash tribute record that can proudly stand right next to the album its paying tribute to: Songs for Beginners. Yes, it's a tribute album with songs by many different artists, but song for song it recreates Graham's spectacular solo debut album, which I previously discussed here. There's really not a bad song on the album, which has just as much to do with the solidity of Graham's original, but also the strength of the artists selected to cover them, among them: Bonnie 'Prince' Billy (aka Will Oldham), Vetiver, Nile Nash (Graham's daughter) and many others that I'm less familiar with but hope to become more familiar with in the time to come. Check out the promotional video they made, which has snippets of most of the songs:

"BE YOURSELF" GRAHAM NASH 2010 TRIBUTE ADVANCE EPK #2 promo from (((folkYEAH!))) on Vimeo.

If you're into vinyl, I suggest you order yours before it's too late - they only pressed 1000 and they did a superb job with gatefold cover, excellent artwork and nice thick vinyl. There's a bonus EP, which strangely I didn't receive (but hope to rectify that) but instead got the 7" single of Bonnie Prince Billy's song from the comp.

Bonnie "Prince" Billy - Hombre Sencillo (Simple Man)
I was surprised to really like this one as I've had mixed experiences with Will Oldham. I know lots of people are fanatical about him, but I can take him or leave him depending on the song/album. This song, however, is making me want to revisit my position. By far, this is the most radical reinterpretation of any of Graham's songs on the album, yet even in its deviation I think it gets to the real heart of Graham's humble message to "be yourself". Sure, it sounds like a hippy cliche, but with the crap that gets paraded around as popular music, this message is more urgent than ever. They even made a little mini-movie which I highly recommend you watch.

Moore Brothers - Man in the Mirror
Beautiful harmonies from the group I've never heard above before, but will now keep my eyes peeled for "moore" to come.

Mariee Sioux (w/ Greg Weeks of Espers) - Sleep Song
Magical. Possibly my favorite song from Graham's album rivaling "I Used to be a King" (Vetiver does this version and while it's fantastic, surprisingly it's not one of my favorites from the tribute album) this lullabye reminds me a lot of another version I recently came across from Claudine Longet . . .

Claudine Longet - Sleep Song

Blue Ridge Rangers

2010-07-06T14:58:00.003-07:00

Wow, it's been awhile. Sorry, to keep ya'll (all two of you) hanging like that without any new (meaning old) music to ingest your WW&W to . . . Truth be told, it's not that I haven't stumbled upon any great new songs or artists to showcase on the blog, but just that I've been really busy and distracted with the rest of life, such as: getting laid off, finding out I'm gonna be a dad, and then getting another job (in that order, naturally). But, I'm back and committed to posting some music on this and it's sister blog, Soul Spectrum, on the somewhat regular.

Today's post comes from a prolific, yet anonymous source: The Blue Ridge Rangers. The shadowy figures perched atop the bluish ridge are in actuality an army of Fogerty: John Fogerty, that is. After the breakup of Creedence Clearwater Revival in 1972, John Fogerty, lead singer and main songwriter embarked on a solo career with an album that not only didn't list his name (except for as producer on the back of the LP), but didn't include even one original song. Either he was trying to get back at Fantasy Records founder Saul Zaentz or he was trying to disassociate himself from CCR.

Either way, it's a solid album of classic country music performed entirely by Fogerty with innovative arrangements that fits in wonderfully with the output of other country-rockers of the time, namely Gram Parsons. CCR never really fit in with much of the contemporary rock coming out during their tenure (1968-1972) so its amusing that Fogerty's first solo album actually DOES fit in with a trend even in its attempts to be anachronistic. Any way you slice it, it's an interesting listen from start to finish.

John remade this album with some new tunes and a full band not too long ago, but if I were you I'd track down this original album, find a cold American beer and a sunny porch and dig in.

Blue Ridge Rangers (John Fogerty) - California Blues (Blue Yodel #4)
Blue Ridge Rangers (John Fogerty) - Workin' On a Building

PS - Isn't the young John Fogerty a dead ringer for both a young Steve Martin and young Harrison Ford?

Up and Down the Left Coast with New Riders of the Purple Sage

2010-03-25T08:21:00.000-07:00

As you may have read in my sole "Dead" related WW&W post, that I am a Dead neophyte and with trepadation I am plunging my birkenstock-clad dirty toe into this insular world of endless jams, bluegrass psychedelia and unfathomable depths of concert recordings. My plan is to take bite-sized, shall we say brownie-sized doses, of Dead-related albums and classic Dead albums before I start affixing bumper stickers to my thoroughly unDEAD Subaru. According to a cool cat I met in Austin named Mark, I need to get some live Dead from 1972-73. Recommendations of albums of boots to track down?

Many thanks to Scott for tipping me off to the New Riders of the Purple Sage debut album which I found in Portland on my last trip. Not a difficult album to find by any stretch, but well worth it. This a great listen all the way through and seems like a gateway album to fully immerse oneself into the Dead world. I swear the second song on the album, "Watcha Gonna Do" has the same intro riff as a track from "American Beauty". To me, this albums sounds like a more stoney version of The Byrds "Sweetheart of the Rodeo" and that's just fine with me. It also has the great tune "Portland Woman" and being from Portland I can tell you that there are not many songs about the City of Roses. I remember listening to Huey Lewis' "Heart of Rock 'n Roll" waiting for the part where they list off cities that have the "heart of rock 'n roll" because Portland made the cut!

So, I did a brief little search and discovered that NRPS were basically created as a vehicle for Jerry to wail on his slide guitar in a more countrified fashion that the normal Dead oevre would allow. The two auxillary players that would form NRPS were songwriter and acoustic guitar player John "Marmaduke" Dawson (featured in the car next to Jerry) and David Nelson on electric guitar alongside Dead members Garcia, Hart and Lesh. The story goes that Jerry wanted to practice his slide guitar and frequently joined Dawson at a Menlo Park coffee house. These gigs eventually resulted in this band and a few tours with the Dead before NRPS really separated and became their own band. I don't mean to blasphemy, but it seems like they needed that Dead influence as their later albums pale in comparison to this first one. But we can't neglect to mention that Dawson wrote all of these great tunes on the first album, so it would be a mistake to look at NRPS as merely a Dead curiosity.

New Riders of the Purple Sage - Portland Woman
New Riders of the Purple Sage - Dirty Business
I also included "Dirty Business" from their debut album which is a great tune with interesting lyrics that really breaks away from the obvious hippie-country terrain and really drifts off into some spacey territory. This is the kind of Dead material that I'm interested in hearing more of.

New Riders of the Purple Sage - L.A. Lady
It's too perfect to include L.A. Lady from a later album to get the full West Coast tour covered. You can already hear that their sound changed significantly from this first album to their later work (Scott warned me of this already, but this tune is still pretty great).

Ode to Bobbie Gentry: The Mississippi Hippie (Part 1)

2010-03-09T11:54:00.000-08:00

Hey there little doggies, sorry it's been awhile since I posted some tunes up here on WW&W, but a lot has been going on meanwhile back at the ranch. If you peruse my other blog, Soul Spectrum, you might have read that I was recently laid off. Sad, I know, but I'm trying to recognize that I'm not the only one out there in this position and honestly it does help to keep that perspective. One of the silver linings to this cloud is that I now have much more time for the fun and unpaid music activities in my life, such as Weed, Whites & Wine!

Today we're gonna do something special, a rare cross-blog collaboration with our sister site Soul Spectrum focusing on the rare talent that is Bobbie Gentry. Anyone who's ever dug for records will doubt have seen her duet album with Glen Campbell hundreds of times as it approaches the commonness of "Whipped Cream and Other Delights". And shockingly, I don't even have that one, though next times I see it the completist in me will snatch it up. Everybody probably knows that Bobbie is best known for composing and singing the brilliant story-song "Ode to Billy Joe", a haunting song set in rural Chickasaw Country, Mississippi where a troubled Billy Joe McAllister jumps off the Tallahachie bridge. I had heard that song and several other versions, but it wasn't until I heard the A-side to her first single ("Ode to Billy Joe" was the b-side!) on a british acid-jazz comp "Blue Juice" that I really took notice. That a-side, "Mississippi Delta", is a smoking country-soul stomp and will be posted shortly on the companion tribute to Bobbie Gentry over at Soul Spectrum.

I spent the last few days going through my handful of Bobbie Gentry albums (all from 1967-1970) and picked out some of the twangier tunes from her repertoire. To me, Bobbie is somewhere in between Tony Joe White and John Hartford two other native southerner singer-songwriters who dabbled in pop-country in the wake of the Bob Dylan revolution (before Dylan made Columbia some serious $$, few record labels took chances on singer-songwriters especially in the country and/or folk markets). Of the four songs below only one is a cover, which seems pretty representative of her albums.

Bobbie's story is a fascinating one that saw her peak in popularity with her very first single only to become fed up with the recording industry within a few years. Next she spent the better part of the seventies as one of the biggest acts in Las Vegas, producing, writing, choreographing and performing her own show. Then in the late seventies she married wealthy and has disappeared from sight. It's been rumored that she and Elvis even had a thing going on in the early 70s, no doubt as both stars were dominating the Las Vegas strip. I urge you to listen closely to the words of the final song posted here "Fancy" which is done in a similar story style as "Ode to Billy Joe" but is about a teenage girl who's mother forces her into prostitution in order to pay the family's bills. The song goes on to discuss the emotional wreckage that results. Not bad for a pop song. It might help if you knew that before joining the Los Angeles music conservatory she was majoring in philosophy at UCLA.

Bobbie Gentry - Okolona River Bottom Band
This is from her second album, which sold poorly, but is clearly trying to build on that southern mythology. Check down below for a bizarre video of Bobbie and Bing Crosby dueting on this tune.

Bobbie Gentry - Sweet Peony
This a funny little countrified number. One thing I really like about Bobbie Gentry is that her arrangements are often very spare with her vocals way up front and funky rhythmic touches along the way.

Bobbie Gentry - Natural To Be Gone
I love John Hartford and this is one of my favorite tunes of his so I had to include it. You'll notice she changes the lyric from "banjo" to "guitar".

Bobbie Gentry - Fancy
I already talked about this one. I know she's a feminist and all, but I don't think Bobbie would mind if I commented on how HOT she looks on this album cover.

Here's a great performance of the tune on Johnny Cash's TV show from 1970 I'm gonna guess:

Here's another clip from Johnny's show, likely from an earlier season singing a Hank Williams tune in duet with the beautiful Bobbie:

and here we have Bobbie on Bing Crosby's show with Bing dueting on "Okolona River Bottom Band":

And here's a link to cool video of Bobbie singing "Louisiana Man" with some of the Hollies including WW&W favorite Graham Nash.

Wine, Whites and . . . Doobies!

2009-12-17T11:01:00.002-08:00

The Doobie Brothers and Steely Dan have more than Jeff "Skunk" Baxter and Michael McDonald in common. They are both ubiquitous 1970s pop-rock bands that I've come to love despite my best intentions to steer clear of obvious pop-music fodder. Just like with The Dan, I had a moment years ago when hearing either "China Grove" or "Long Train Runnin'" for the 100th time that I had to stop in my tracks and remark to myself, 'damn, that's a great song.' Once that happens, it's hard to go back. I'm not trying to say I'm a super fan and unlike The Dan, I haven't seen the Doobies live, but I also wouldn't pass up the opportunity if it presented itself to me.

As far as "Weed, Whites & Wine" goes, The Doobies pick up where a lot of the Laurel Canyon/SoCal country-hippies left off. My office-mate and friend grew is quick to point out that The Doobies are probably the most famous band from the South Bay/San Jose area and you can hear the similarity to other country-rock outfits from these parts, namely Creedence Clearwarter Revival. The Bay Area scene was more indebted to R&B it would seem then the SoCal scene, which had a little more folk and pop influences, depending on the artist. Most of The Doobies' repertoire doesn't fit too well in the WWW bag, but when I stumbled upon their first album from 1971 I was pleasantly surprised to hear the humble country-ish beginnings of one of the 70s biggest rock bands. You'll note that the line-up on the album is merely four people, three of which continue on to later albums and the smaller size is reflected on the more subtle songs when compared to the larger line-ups and baroque arrangements of later years. Sure, they never would have made it big if they kept it like this, but the following tunes show that they were on to something interesting back in 1971 . . .

The Doobie Brothers - Nobody
The Doobie Brothers - Greenwood Creek
The Doobie Brothers - Feelin' Down Farther

The Brothers Everly

2009-10-30T08:37:00.001-07:00

Ok, so everybody knows the Everly Brothers from their ubiquitous oldies hits like Cathy's Clown, etc, but for my money they were the original country-rockers. Don and Phil's parents were country stars from Kentucky so when these boys started their thing they were naturally tapping into some country roots. I've read here and there that the early hippy rockers like The Byrds, CS&N and Gram Parsons and the Burrito Bros. all worshipped the Everly Brothers' early rock n' roll hits, so its only natural that the Everly Brothers would fit right in when the country-rock scene blossomed in the late 60s. Well, they did and they didn't. I don't have it yet, but their 1968 "Roots" album is supposed to be a great example of their adapting to the new/old country-rock sound that they helped invent, but this album from 1972 definitely finds the brothers stretching out in a country-rock style not unlike some of their followers.

Left to right: Paul Rothschild (producer), Phil & Don Everly
Some of their admirers even joined in on this all-star cast, including John Sebastien of The Lovin' Spoonful, David Crosby, Delany & Bonnie, and Chris Hillman among many others. The album was recorded in Sebastian's Laural Canyon home. The brothers cover Sebastian on the title tune, which is nice, and cover Delaney & Bonnie on the opening cut, but the three tracks here (and my three favorites) are all Everly originals. The heavenly Green River is possibly one of my favorite country-rock tunes of all time and will certainly make the cut for the forthcoming Weed, Whites & Wine compilation.

The Everly Brothers - Green River
The Everly Brothers - I'm Tired of Singing My Song in Las Vegas
The Everly Brothers - Up In Mabel's Room

Astral Weakness

2009-10-23T11:56:00.001-07:00

Once again the Bay Area's bizarro weather is messing with me. Last week it was feeling very fall-like and the last few days it's been really warm. So I started prepping this post back when it was rainy and windy with the leaves departing their branches and accumulating in piles and on the sidewalks. I figure it's gotta be Fall-like somewhere else, so I'm going ahead with this post.

I remember working at Olsson's Books & Music in Washington D.C. and reading some Mojo or Q magazine top 50 list of the BEST ALBUMS OF ALL TIME and Van Morrison's "Astral Weeks" was definitely in the top 10 if not top 5. I picked it up and quickly got carried away by the emotion and otherworldliness of the recording. It's a special album that transports the listener to a strange and instantly nostalgic place, like a great film. For me the album reminds me of my year after college, living in Washington DC in the Mt. Pleasant neighborhood and walking up Irving Street on the way to work with the sidewalks damp with rain and about half of the leaves on the ground on the other half dangling on the verge of joining the others.

Van Morrison - Astral Weeks
The title track to this classic album really sets the tone for this sonic journey. It's not my absolute favorite, but hearing it prepares me for the 40 minute trip down Van's spooky, surreal and emotionally loaded memory lane.
Van Morrison - Cyprus Avenue
I could have gone with "Sweet Thing", which is probably my favorite tune from this album, but I figured everyone else felt the same, so I included this one.

Van Morrison - T.B. Sheets
The mystery of "Astral Weeks" is only heightened when you think that it came immediately after Van's first solo album, the one that produced the radio-friendly hit "Brown-Eyed Girl". Listening to the "Bang Masters" CD that came out decades later you can hear that these sessions produced an extremely wide range of recordings, such as the blues jam "T.B. Sheets". While its closer to the style and content as "Astral Weeks" it's singular in its own way with its funky groove and ad-lib lyrics from Van about visiting a girl friend who's sick with T.B. He feels he has to pay his respects, but being there with her depresses him and he can't leave soon enough. Scorsese used this song perfectly as the recurring theme song in his highly-underrated 90s drama "Bringing Out the Dead."
Van Morrison - Madame George (Demo)
If you know the "Astral Weeks" version of Madame George, you'll hear that this one is the perfect bridge between his Bang Sessions and the AW sessions. The lyrics are basically final, but the instrumentation is entirely different. It just goes to show what a unique recording AW is, as this version is more blues-based and more in line with everything else that Van had done with The Them or solo. This begs the question of why or who influenced Van to create the acoustic, string-heavy and nearly drumless sonic palette he used on "Astral Weeks"?

Van Morrison - Bulbs
After digesting and falling in love with AW I went looking for more of the same, but despite the greatness of his subsequent albums (mainly "Moondance") I came up empty handed . . . until my brother turned me on to the 1974 album "Veedon Fleece". Like "Astral Weeks", this album is a concept album with themes and lyrics being carried across multiple songs and no stand-out singles. I picked two of my favorites to share here.
Van Morrison - Fair Play

The Other Graham

2009-10-12T10:13:00.001-07:00

Around the time I first started WW&W I was just getting into Crosby, Stills & Nash. It was a late start, but like the "dead", CSN always seemed a bit too hippy -dippy and those radio hits were sounding pretty worn-out. First, my friend Josh turned me on to the solo David Crosby record, which proceeded to blow my mind. Next, I started picking up the first and second and subsequent CSN(Y) albums. More recently it was pointed out that actually ALL of the solo albums from C, S & N were quite good and that I needed to fill out the collection. This is where we come to Graham Nash's "Songs for Beginners". It might take a listen or two to adapt to Graham's extremely personal and fragile universe, but it's a rewarding listen and the record that has taken the most spins on my turntable and ipod in the past three months. On a related note, I just downloaded Stephen Stills' first solo album and despite what everyone else seems to say, I found it kinda boring, barring the "Love the One You're With" single, which I could do without for hearing it so many times. My money is with Crosby & Nash's solo records!

Graham Nash - I Used To Be a King
I'm not sure the timing of this album in relation to Graham's personal life, but around this time he and Joni Mitchell were living together in "Our House" in Laurel Canyon, but that was not to last and the poetic two parted ways. I like to think that this is one of Graham's break-up songs to Joni. Assuming the timing is right there are other break-up songs to Joni on this album.

Graham Nash - Sleep Song
Just a beautiful tune.

Rita Coolidge - Better Days
After discovering Graham, I remembered I had heard this song before and it took me awhile to place where . . . that Rita Coolidge album I had where she also covers Bob Dylan & Neil Young. Listening to it again, it's not a better version that Graham's but it does flesh out the tune with a full band and more structure. It's just a great song and another Joni break-up song.

I'm slowly picking up some later Graham Nash albums as well as some Crosby-Nash albums. The possibilities do seem endless with these prolific hippies . . .

Weed, Whites & Stones

2009-09-02T10:37:00.000-07:00

Apologies for the long delay in posts, but I go married a couple weeks ago and naturally that took up a lot of my time. Today we're listening to a few Rolling Stones' cover tunes from a broad spectrum of talent. The first tune is classic WW&W material as it comes from the godfather of the genre: Gram Parsons. The stones were first and foremost a blues-based rock band, but thanks to Keith's friendship with Gram Parsons they began incorporating more and more "country" influences into their music. I can't find the original quote anywhere, but if the anonymous internets are to be believed, Keith Richards confirmed to Barney Hoskyns that to Gram this song was "a logical combination between their music and our music."

Our other two examples come from the English country-side and Brazil where some varied musicians picked up on the universality of some of the Jagger/Richards songwriting and refitted their songs in more cosmic-country tones, ala Ronnie Lane's cover of the Exile on Main Street classic "Sweet Virginia" and Caetano Veloso's live cover of "Let It Bleed."

The Flying Burrito Brothers - Wild Horses
The story goes that Keith sent Gram a master of "Wild Horses" a year before the 1971 release on the Stones album "Sticky Fingers." According to Jagger & Richards this song was their attempt to write something in a Gram Parsons style. I remember reading somewhere that Keith asked Gram to not release the Flying Burrito Brothers version until after the Stones released their album. Thankfully Gram and the boys included it on their second album "Burrito Deluxe" against Keith's request because by the time "Sticky Fingers" was released in 1971, the Flying Burrito Brothers were no longer in existence. There's no question that the Stones' version is a classic, but to me the FBB version matches it, if not tops it with Gram's wavering ad plaintive vocals and the killer piano solo.

Ronnie Lane & the band 'Slim Chance' - Sweet Virginia
As a certifiable Ronnie Lane obsessive I had to go and buy every single Ronnie Lane-related release out there and this one came pretty late in the game but was well worth the wait. This 2CD set has a whole bunch of live and live-in-studio performances from the key years of 1973-76 or so. Most of the tunes on here are Lane originals, but this cover song really fits right in the Ronnie Lane mold especially given the original's rustic feel and acoustic instrumentation. What's funny about this one is that it was recorded for radio so the swear-words ("Got to scrape the shit right off your shoes") was changed to silence in one chorus and "brown" in the last chorus.

Caetano Veloso - Let It Bleed
I have no idea where this recording is from, but this tune surfaced on a 1999 Japanese compilation of rare Caetano Veloso tracks. In the mid-seventies Veloso started to regularly do English-language cover tunes on his albums, mostly of Beatles songs, but this is a rare Brazilian cover of a Stones song. It kind of drifts into a march tempo at the end. I can't say I've listened to Veloso's covers album from a few years back, but I can say the man has a knack for putting his own voice and style on other people's tunes. The first cover tune of his I heard was Bob Dylan's "Jokerman" from an early 80s live album of Veloso's.

Vetiver: Things of the Past and Present

2009-07-24T07:57:00.001-07:00

So far this blog has been solidly dedicated to older tunes from the 60s and 70s mostly, with the exception of Arthur Russell and some later John Martyn cuts. This is not because I'm some music purist that believese that only the old stuff is good (though I'm guilty of that 75% of the time), but because I spend most of my energy digging backwards rather than in the present. So usually when I find something new it's by accident, like what happened with Vetiver.

For the last two years I've been pretty solidly obsessed with Ronnie Lane of the (Small) Faces. One evening, hanging out with my friend Matt on a visit to NYC I was playing a mix that included Ronnie Lane's cover of D. Adam's "Roll On Babe." Matt said something like, "Vetiver's awesome," to which I gave him a confused look, explaining that we were listening to Ronnie Lane. He explained that Vetiver covered this song on one of their albums, to which I was skeptical and intrigued. He ripped me a copy and since then I have been slowly and irreversably falling in love with Vetiver. What I find interesting is that had it not been for their cover of a song I already loved I probably wouldn't have bothered to dig deeper, but their commitment to an obscure, yet wonderful song like "Roll On Babe" meant that we were kinda in on the same deliciously underappreciated secret.

I committed to purchase the album with that song, "Thing of the Past", on vinyl and absorbed the band's subdued and understated tone. At first it didn't really penetrate my armor of skepticism, but by the third or fourth listen I really began to appreciate the quirky selections - all the songs on that album are covers of relatively obscure folksy singer-songwriters, a style that is clearly the foremost influence on the band - and the sensitive treatment the band gives each piece of music, demonstrating a serious amount of respect for the source material. Come to think of it, that's one of the reasons I like them, because they seem to have a clear sense of where they sit and what they're trying to do, because they know what came before and what elements to cherry pick and what dated sounds or themes to leave on the rehearsal space floor.

More recently I picked up their newest one, "Tight Knit" and then there was no going back. This album is all originals (I think) and is their strongest release to date, though I still haven't gotten around to pick up their first one. The songs have a wider emotional range that extend from giddy "Everyday" to nostalgic "Rolling Sea" to ethereal "At the Forest's edge" as opposed to most of the previous albums that refused to budge too far from warm and melancholic nostalgia. Seeing as I got into the group because of a cover, I have included that one and another perfect surprise, finding out they also covered my favorite Lindsey Buckingham Fleetwood Mac song, "Save Me a Place." I rounded it out with an original, "Rolling Sea" from the newest album.

Now I just can't wait to check them out live. They're a local band I've been told, though they've been on tour since I discovered them, but I hear they're coming back in a couple months . . .

Vetiver - Roll On Babe

Vetiver - Save Me a Place

Vetiver - Rolling Sea

Sahm the Mahn

2009-07-01T06:48:00.000-07:00

One of the best things about starting a blog like this where I showcase a particular style of music, however narrowly or broadly defined, is that friends and strangers want to suggest certain artists that they think fit the bill. Sometimes I might already be on the same page and I might be planning to get to these nominations, but in other cases, I get schooled in the best possible way. For instance Dave's contributions of Ramblin' Jack Elliot and John Martyn were eye-openers and jaw-droppers and I'm glad that WWW made that possible. (aside: that's crazy, I just remembered a dream I had last night where I was in a small bar and a very old, but living John Martyn was performing in his charismatic style)

Today's artist is an introduction from my good friend Brad who considers San Antonio a home away from home, namely for its enchiladas and Doug Sahm. Even before I started WWW he raved about Sahm and having not enough music-listening hours in the day, it went in one ear and out the other. Actually, I remember that my dad had his classic Atlantic record released as "Doug Sahm and Band" but listening to it a dozen years back in passing, it must not have been my style at the time. After a recent road trip with Brad I became convinced that I really did need Doug Sahm's music in my life and I went out and got the below "best of" comp.

For a compilation that covers only 7 years of a thirty-year career, this CD is mind-blowingly diverse in its approach to music, all anchored by Sahm's plaintive vocals and eclectic mix of instruments. Hailing from San Antonio, Sahm brings his native tejano style to his unique brand of pop music. This comp. focuses on his prime hippy/country-rock years, the first several when he was living out in the Bay Area and feeding off and feeding into the burgeoning music scene in San Francisco. Towards the end of this comp.'s timeline Sahm had transplanted himself into the now-legendary 1970s singer-songwriter scene based out of Austin, TX.

The three songs here are an interesting side-story to Sahm's career when he recorded a couple of fairly straight-ahead country tunes to be released under the name "Wayne Douglas" as his attempt to cross-over into the country scene. Recorded in Nashville and released on Mercury as a 45 "Be Real" and "I Don't Want to go Home" was Sahm's "Sweetheart of the Rodeo". Listening to these tunes and the other tracks on the CD and a record I recently scored ("Texas Tornado" on Atlantic) I can say that Sahm was more country than a whole flock of Byrds.

Wayne Douglas - I Wanna Be Your Mama Again (previously unreleased version)

Wayne Douglas - I Don't Want To Go Home

Wayne Douglas - Be Real

Rhinestone in the Rough: Don Cooper

2009-06-17T08:18:00.002-07:00

I dug this LP out the other day when mining for some new WW&W fodder and I'm sure glad I did. A few years back I stumbled upon this record, "The Ballad of C.P. Jones" his third LP I believe, at a Salvation Army and having no idea who Don Cooper was I was about to bypass it . . . but a quick glance at the back informed me that this apparent singer-strummer-songwriter was being backed up by the cream-of-the-crop of NY session players, such as Bernard "Pretty" Purdie and Paul Griffin, among others. I snatched it up and when I got home I fell in love with the standout track "Rhinestone in the Rough" because of its unusual combination of folky elements with an R&B backbone. You can really hear Purdie doing his thing on this track.

I kinda left it there and until a few days ago I had nothing to say about the rest of the album. I'm still "digesting" the other 11 tracks, but I can already say this guy is/was great! I think allmusic has it spot on with Don - had he been on another label, such as Columbia or Elektra, he could have been at least semi-big like a left-of-cheesy Gordon Lightfoot or inheritor of the Fred Neil crown. Sadly, he lingered on Roulette for four albums and nobody's heard much from him since then. I'm now on a mission to track down the other three LPs. It's always a tricky balance to have a really heart-felt song without letting the delivery and production sabotage it with schmaltz and Cooper pulls this off better than most.

Don Cooper - Howlin' at the Moon
Don Cooper - Rhinestone in the Rough

Perfectly, a search for Don Cooper took me to the blog Vinyl Treasures which has the other three Don Cooper albums available for download. I'm still working my way through the one I have, but so far it is an excellent disc without any weak songs.

Me & My Jack of Diamonds

2009-05-21T23:00:00.000-07:00

Sure, I have some Grateful Dead songs on my iTunes and you'd have to be a hippy-hater to not like their classic album "American Beauty" but there's a funny thing that happens when "The Dead" and music dorks intersect. Nobody ever really dabbles in "The Dead". It's as if you're a "Dead Head" or you can't stand the band. Until recently I was closer to the latter, but I think I'm beginning to feel the Darkstar tractor beam pulling me in . . .

I tend to approach musical behemoths in the same way. I resist dabbling until I can perceive a crack in their monumental veneer, an opening that allows me to understand and appreciate their work, and then I dive in and rarely surface until I've devoured a majority of their catalog. So you can see why I'm trepidatious. Well, that and I'm not sure that I'm comfortable with the "dead head" moniker.

not me, but the other guy looks like a bigger, fatter version of my uncle (seriously)

My "in" in this case is the John Phillips composition, "Me & My Uncle" otherwise known by the title "Jack of Diamonds." I'm a big John Phillips fan and picked up the compilation by the name "Jack of Diamonds" that pulled together a random assortment of rarities and odds n' ends from the 1970s. There are two versions of the tune "Jack of Diamonds" on the CD and strangely enough the "alternate" version is the more conventional of the two. I've selected the regular version, which has an extremely relaxed and dare I say druggy vibe - I mean, this is John Phillips we're talking about here.

John Phillips - Jack of Diamonds
The story goes that Phillips wrote the song during an all night drinking session accompanied by Judy Collins, Stephen Stills and Neil Young, among others, in 1963. At the time Phillips was a member of the folk group, The Journeymen, and Stills and Young had yet to make it to L.A. to form The Buffalo Springfield. Collins was the only one in the group of partiers with an active recording career and so unbeknownst to Phillips, Collins recorded the song for her Judy Collins Concert album. You can listen to the full song here (it might ask you to download the rhapsody widget thingy, but it doesn't take long and its well worth it). The most interesting thing about the song, is that Phillips woke up the next morning with absolutely no recollection of writing or playing the song and story has it that, "John used to joke that, little by little, with each royalty check, the memory of writing the song would come back to him." This version comes from the early 1970s after Collins, The Dead and a few others had already made it a classic. Phillips wanted to put his own stamp on it and switched around the lyrics a bit and re-titled it. To me it has a bit of that Steely Dan "Do It Again" slick rock shuffle.

We need to stop a second because who knew that there was more to know about Judy Collins?!? I have two previous associations with Collins: 1) my very un-hip step-grandmother liked her, and 2) I heard that she was Stephen Stills' cougar back in the 60s and that Suite Judy Blue Eyes was written about her. Next, we get to the other versions of the song, most notably when The Grateful Dead started working it into their live repertoire around 1966.

I guess if I'm going to ease my way into the dead, I might as well start with the song the Grateful Dead played more than any other, cover or original, all the way from 1966 to 1995! according to this very thorough website.

A relatively brief searcheroo on Soulseek unveiled about a half dozen live versions of the tune and I tried my best to select the ones that I thought really stood out and actually sounded different from each other. I swear it wasn't intentional, but the versions I selected came from the successive years of 1969, 1970 and 1971.

The Grateful Dead - Me & My Uncle (Live in Santa Rosa 6/28/69)
The Grateful Dead - Me & My Uncle (Live at Fillmore East 2/14/70)
The Grateful Dead - Me & My Uncle (Live at Fillmore East 4/29/71)

Of Canoes and Tall Buildings . . .

2009-05-04T09:49:00.002-07:00

John Hartford is one of my alltime favorite artists and an early inspiration for creating a separate country-ish blog in "Weed, Whites & Wine." I chanced upon this songwriter and renowned instrumentalist through his most famous song, "Gentle On My Mind." Of the hundreds of versions out there, it was Elvis' version from his Elvis in Memphis sessions that initially won my heart. While some might roll their eyes at this pop-country staple, to me it was new and the lyrics were extremely vivid, simple and honest - all three things speak to Hartford's musical legacy. Hartford wrote and sang about what he loved: freedom, boats, the Mississippi river and love.

I'd been meaning to get around to doing a post about some Hartford tunes so when this Monday morning rolled around and I struggled to face another week, I thought of one of my favorite anti-corporate anthems and no, we're not talking about a Rage Against the Machine song. We're talking about Hartford's, "In Tall Buildings." This song hit me back when I had just moved to New York City and I was working at a great job on the Upper East Side. As I got ready for work one morning, I put on a record as I often did while getting dressed. As I wrestled with my neck-tie the words of the song sank in:

Someday, baby, when I am a man,
and other's have taught me
the best that they can
they'll sell me a suit
and cut off my hair
and send me to work in tall buildings

and it's goodbye to the sunshine
goodbye to the dew
goodbye to the flowers
and goodbye to you
I'm off to the subway
I must not be late
going to work in tall buildings

now when I retire
and my life is my own
I made all the payments
it's time to go home
and wonder what happened
betwixt and between
when I went to work in tall buildings

and it's goodbye to the sunshine
goodbye to the dew
goodbye to the flowers
and goodbye to you
I'm off to the subway
I mustn't be late
going to work in tall buildings

Damn! I nearly quit my job that same day. I kept the job and eventually upgraded to one that didn't require a suit, though I still find myself rushing to the subway. I think of this song often and how Hartford managed to have his cake and eat it too, leading a particularly unconventional life.

As the story goes, Hartford rode the post-Dylan wave with a run of solo albums on RCA in the late sixties that yielded his biggest hit and one of the most recorded songs in history, "Gentle on My Mind." Hartford was known to say that that song bought him his freedom. With this freedom he took some time off and got his license to be a riverboat pilot. This pretty much sums up Hartford from the biography on his website, "Summer days might find him piloting the Julia Belle Swain on her afternoon run, before entertaining the passengers at night. During festival season, his amazing instinct for single-handedly captivating an audience would often have him leaving the stage and leading a processional of joyful dancers through the grounds, like a fiddle-playing pied piper."

I've picked two songs to showcase today, the second being "In Tall Buildings" and the first being the title track from his mid-80s album, "Gum Tree Canoe". Above is a picture of John and his wife in their own gum tree canoe. I feel like the two songs combined present a picture of how I, for one, would want to rank my personal priorities in life and live them out in the spirit of John Hartford. RIP.

John Hartford - Gum Tree Canoe
My dad has always had a canoe and I grew up with these simple, yet elegant boats on every summer camping trip. In fact, we're in the midst of planning the next one for this summer and I can't stop thinking about taking the canoe out in the early morning before the rest of the campers are awake.

John Hartford - In Tall Buildings
Wouldn't it be nicer to say:
hello to the sunshine
hello to the dew
hello to the flowers
and hello to you . . .

Both of these songs as well as my favorite version of "Gentle On My Mind" are collected on an excellent compilation of Hartford's Flying Fish sides, called "Oh Me Oh My How The Time Does Fly."

The Ballad of Tony Joe White

2009-03-24T07:43:00.000-07:00

A quick post here to pass the time as it's been awhile since I lasted posted to WW&W. I was in Sacramento last weekend and picked up some great records, one of which was the last missing piece of my Tony Joe White collection, titled "Tony Joe" on Monument from 1970. This might just be my favorite album of his as he really stretches out in his swamp blues style and seems to be unconcerned with hitting the charts even though many of these songs are quite good.

I've been a fan of Tony's since I don't even know when and I can't really remember how I chanced upon him, but I soon acquired the great Warner Archives Best Of set which covers most of his late 60s and 70s output - his best years. I soon started tracking down his original albums and they're all pretty good, but few really stand out as solid listens all the way through, that is except for this one and his Warner Bros. debut, "Train I'm On."

I've also had my eye on Rhino Handmade's complete Monument Records set, but seeing as I have all the studio albums now, I'm not sure I want to shell out $80 for some out-takes and live cuts. I'm a fan, but not a super-fan. The thing about Tony Joe is that his style is so personal and direct that when it hits, it's like the best song you ever heard - think of his classics like "Polk Salad Annie", "Willie & Laura Mae Jones" or "Rainy Night in Georgia". Those songs were covered by just about everybody, because they were just THAT good. But, TJ also put out some embarrassing crap, too and in his personal style they just fall flat, really flat. He is kinda like a grittier Elvis (who covered Polk Salad Annie on some live sets) without the marketing machine to steer him towards success and make even his crappier songs sound at least passable.

That being said, I'm excited to share two of my favorite songs from this new acquisition (both songs are on the Best Of set) and they really show Tony Joe at the peak of his intimate and spellbinding storytelling style.

Tony Joe White - High Sheriff of Calhoun Parish
One of Tony Joe's great story songs. Looking at pictures of Tony as a young man, you could imagine him getting into some trouble with the ladies . . .

Tony Joe White - Stockholm Blues
This is my favorite non-hit that Tony Joe's done. I just love the opening bluesy lyric, "I got ants in my sugar bowl, boll weevils in my cornmeal . . ."

Arthur Russell in the Country

2009-03-06T12:39:00.001-08:00

Arthur Russell's body of work continues to grow long after he left this world thanks to the good people at Audika Records. If known at all, Arthur's usually referred to in hushed tones by left-field disco enthusiasts for his David Mancuso Loft Party inspired jams such as "Go Bang" or "Is It All Over My Face" but his musical output was far broader than that excellent, but narrow slice of avant-pop. Arthur died of AIDS in 1992 and was creating music up until his final passing, but much of that output has yet to be heard by the public. Thanks to Audika records some of these recordings are being released and fans like me are eager to hear whatever comes out.

The latest release is "Love Is Overtaking Me" and collects recordings spanning his entire recording career from the early 1970s until 1991. What I like about this set of tunes is that they focus on more acoustic arrangements and the songs are shorter and more traditional in their pop song format with choruses and hooks, etc, but they are still distinctly different than most anything you'd ever hear on the Top 40 radio. Arthur's personality transcends any genre distinction and comes through in most everything he recorded.

These four songs are cherry-picked for their acoustic and country elements specifically for WW&W. They are also my favorites from this compilation, though there are many other great songs with more pop orientation and some synthesizers here and there. Listening to these tunes I can't help but compare Arthur's songwriting and vocal delivery to another fragile country boy who left us far too soon, Gram Parsons. The latter two songs also have a real country-soul feel with those horns much like some of Gram's cover tunes from the first Flying Burrito Brothers album.

Arthur Russell - Close My Eyes
Arthur Russell - Love Is Overtaking Me
Arthur Russell - I couldn't Say It To Your Face
Arthur Russell - Nobody Wants a Lonely Heart

If you are even vaguely moved by these songs or have heard of Arthur and wanna know more, I urge you to see the recent documentary, Wild Combination. It's a really touching tribute to this lost genius and an entertaining and compelling story. I particularly liked the parts with his heartland Iowa parents who still referred to him by his given name Charlie and who honestly admit they didn't care too much for his music while he was alive.

The Other Gallagher (& Lyle)

2009-02-16T21:37:00.000-08:00

The REAL Gallagher & Lyle are an unlikely pair of pop musicians and their success and fame didn't really manifest itself until more than a decade into their careers. I honestly don't know too much about them as my introduction to their work was through their participation in the first incarnation of Ronnie Lane's band "Slim Chance." Benny Gallagher and Graham Lyle have gone back and forth from being a duo to joining larger bands to being a duo again and their incorporation into Ronnie's band was after their second stint as a duo.

The album featured here is from 1972 and is the one right before they joined "Slim Chance." If you know Ronnie Lane's work, you'll recognize some of his style, or vice versa, in Gallagher & Lyle's self-titled album from 1972. The music is based in a country-folk format with a strong British (or should I say Scottish) sensibility and like Ronnie, most of their best songs have a fragile and melancholy vibe.

These guys are best known as songwriters (for Art Garfunkel and Tina Turner, among others) so their vocal chops are not always the most steller, but I kinda like the way they strain for the high notes in Broken Wings. These are the kind of songs that sound better around a roaring fireplace than they would on stage at a proper venue.

Gallagher & Lyle - Comfort & Joy
Gallagher & Lyle - To David, Charlie & Ian
Gallagher & Lyle - Great Australian Dream
Gallagher & Lyle - Broken Wings

Talkin' Blues and Greens

2009-02-13T11:42:00.000-08:00

My very good friend Josh has a dad who happens to live with his wife (and Josh's mother) in my very own hometown of Portland, Or. I met David and Diane just once at Josh's wedding in New York City and we deduced that their favorite delicatessen in Portland is the very same one that my dad worked in after graduating from Reed College back in the seventies.

Another crazy coincidence is that my fiance, Jamie, grew up in Grass Valley, CA whose sister-city, Nevada City is the home of the well known and loved independent radio station KVMR. David used to have a show on the very same radio station, so its not unthinkable that a young Jamie might have heard the tunes and voice of today's guest blogger.

Latelty, I've been benefiting from David's wealth of musical knowledge after Josh sent him the Michael Nesmith post on WW&W and since then we've occasionally exchanged musical tid-bits, Blossom Dearie for one. Josh suggested I pick David's mind about some tunes for WW&W and this one was the first (of maybe more?). Here's what David has to say about Ramblin' Jack Elliot's "912 Greens":

Ramblin' Jack Elliot - 912 Greens

I first heard Ramblin’ Jack Elliot’s song 912 Greens on one of the early free-form FM radio stations like KSAN in San Francisco, and although I barely knew what a “talkin’ Blues” song was, I knew what I liked, and this was it. This, and similar Dylan songs, and around the same time, Tom Rush’s take on the Bukka White song Panama Limited and ... and... well, there was a lot of stuff of this ilk to choose from, once you started looking. The title 912 Greens is a play on the address of the place Jack says he stayed in in New Orleans, 912 Toulouse Street. He says the song was a blues song, so he was going to call it 912 Blues, but for some reason he liked 912 Greens better. Anyway. This song has one of the best lines ever written by a white folksinger for a Talkin’ Blues song: “There was this girl there, who had once been an ex-ballet dancer”, which sets up a circular logic of staggering dimension. In the recording, it sounds natural, just a charming verbal faux pas, but he uses the phrase verbatim to this day when he performs this song.

Tom Rush - The Panama Limited

Ramblin’ Jack was a self-made cowboy from New York City who changed his name and persona in the early 1950’s and left for the open, bohemian, Woody Guthrie Cisco Houston Allen Ginsburg Jack Kerouac Road, singing, busking, telling lies and performing (and recording) with virtually every singer-songwriter of note in the latter half of the 20th century. His discography is staggering in its breadth and depth, although he very seldom, at least so far as I can tell, recorded songs with women. I don’t know why that is, it just seems to be so. He seems to love women; he has been married several times.

Anyway, this song, 912 Greens, perhaps the only one he was ever credited to have written, formed a secret, hidden soundtrack to a secret hidden life for me that was never to be. If I were to participate in the online game Second Life, my avatar would live out the life I always imagined from this song, travelin’ and singin’ and drinkin’ and stonin’ and profligatin’ and cowboyin’ and tellin’ stories and little harmless lies to any and all who might listen. And droppin’ every final “g” in the bargain. Jack Elliott, a truly self-made cowboy, entertainer, raconteur, singer, and original American Man. God bless him.

A biographical Documentary was made in 2000 by a daughter: it is called: The Ballad of Ramblin’ Jack. It’s worth viewing.

Discovering Buried Treasure: Steve Young

2009-01-31T16:23:00.000-08:00

I was planning on posting these few songs from Steve Young's 1969 debut album and I was going to talk about how it's too bad this guy never recorded anything else, but lo and behold as soon as I started doing some research I realized that he's got lots of albums and is pretty well known. I'm not exactly certain how I managed to miss hearing anything else about him, but the good news is that I now have a new favorite artist to explore. So I don't know much more about him than this album, but its more than enough to whet my appetite for more. Here's Steve Young:

Steve Young featuring Gram Parsons - That's How Strong My Love Is
This is a cover of a classic Memphis soul song originally recorded by O.V. Wright and later by Otis Redding. Gram plays organ on this tune and it only seems to creep up towards the end of the song.

Steve Young - Rock Salt & Nails
What a tune! The lyrics are really something else . . . makes me think of another O.V. Wright song, "A Nickel and a Nail".

Steve Young featuring Gene Clark - My Sweet Love Ain't Around
Another cover, this time of Hank Williams Sr. and that's Gene Clark on the harmonica.

Rare Byrd Sightings

2009-01-23T10:05:00.000-08:00

Here are a few tunes to tide you all over from the quality Byrds catalog. Before doing a wee bit of research just now, I was unaware how closely these two songs were linked. Both songs were unissued Byrds songs that were eventually released in 1969 as "Pre Flyte", a compilation of songs that pre-dated their first album "Mr. Tambourine Man." Both songs don't sound particularly Byrd-like, but that doesn't mean they're not excellent folk-pop numbers.

The Byrds - Airport Song
McGuinn shares the writing credits on "The Airport Song," but its delicate lead vocal and its jazzy changes mark this as a Crosby song, and not a bad one at all. Though not quite up to the level of "Everybody Has Been Burned," which dates from Crosby's pre-Byrds career as a solo folksinger, "The Airport Song" shows him working in similar territory. (from The Byrd Watcher site)

The Turtles - You Showed Me
One of the earliest Byrds songs, "You Showed Me" was an auspicious beginning. A minor-key romantic ballad, the song has a near- Beach Boys feel and ends up being an effervescent piece of moody pop. Although this fine song was left off the Byrds' debut album (no doubt to make room for more Dylan covers), it is available on Preflyte (or In the Beginning on Rhino). The Turtles did a fabulous, slowed-down cover of the song, which was a huge hit in 1969, at the end of their career. Furthermore, U2 sampled the Turtles' version for the hook on "Playboy Mansion" in the late '90s, providing the writers with another, unexpected royalty windfall.

"The 1989 debut album by hip-hop combo De La Soul featured an uncredited sample from the Turtles (specifically, the intro to "You Showed Me"), in the song "Transmitting Live from Mars". Kaylan and Volman sued, winning a large settlement, setting a legal precedent, and causing the music industry to begin carefully crediting (and paying royalties for) sampled works on future rap and other recordings. As they explained, "We don't hate sampling; we like sampling. If we don't get credit, we sue, and all that stuff (a share of the royalties, plus punitive damages) comes back to us!" (from Wikipedia)

Vanishing Point Soundtrack

2009-01-16T09:38:00.000-08:00

I can't even quite remember how I first came across the 1971 cult-classic film "Vanishing Point." It probably had something to do the Delaney & Bonnie kick I was on several years back when I found some obscure reference to a movie that they appeared in playing musical Jesus-Freaks that lived out in the desert. I managed to catch part of the movie on cable TV and then a few years later found a gently-used VHS copy at a thrift store. I was of course on the hunt for the soundtrack, but that proved a little trickier to find. I managed to find a copy in Porto Alegre, of all places, in the southern part of Brazil. Why, you ask, would this obscure movie soundtrack deserve a Brazilian pressing? It turns out that the major Brazilian TV network, Globo, used the song "Freedom of Expression" by the J.B. Pickers (featured below) as the theme song to one of their news programs, "Globo Reporter".

Here's the original movie preview:

Here's the US release of the album:

The J.B. Pickers - Super Soul Theme
So, who exactly were the J.B. Pickers? Well, the J.B. I assume stands for Jimmy Bowen, a longtime Nashville producer who was big in the late 60s country-pop scene, having shepherded the careers of Kenny Rogers and Glen Campbell, among others. He came out with a book about a decade ago retelling his story and rise to fame and fortune in the country music business - he retired before Garth Brooks could have him fired. Jimmy's players have three tracks on the soundtrack, two of them being included here and the last credited to "Jimmy Bowen Orchestra" being a little schmaltzy as the score to the nostalgic/romantic flashback scenes. This track here is the one for the beat-heads with its open drum-break intro and funky vamping. Country-Funk, served up in honor of DJ Super Soul aka Cleavon Little, best known as the black cowboy from Mel Brooks' Blazing Saddles.

Here's the scene that introduces DJ Super Soul and is fairly representative of the film in its artsy approach and deliberate pacing: small-town life contrasted with a high-flying car chase.

Bobby Doyle - The Girl Done Got It Together
I have no idea who Bobby Doyle is but I've always liked this uptempo country-rock nugget that is the soundtrack to the an earlier scene in the movie before things start to go horribly wrong.

Gotta love the naked hippy chick cruising around the desert on a motorcycle.

Jerry Reed - Welcome to Nevada
Jerry Reed is another big name in 1970s country and I really like this rocky instrumental that was clearly written for this movie as Kowalski makes it halfway to San Francisco and enters Nevada.

The J.B. Pickers - Freedom of Expression
This is the track from Brazil's "Globo Reporter". I've also found it make a perfect soundtrack to high-stakes driving as it happened to be playing on the CD player one winter while heading home from some hot-springs in the mountains with 6 inches of slushy snow on the ground, the sun setting and our minivan fishtailing down the road. My dad was driving and after a minute or two of white-knuckled musical accompaniment, he kindly asked me to turn it off as the driving was stressful enough.

Jimmy Walker - Where Do We Go From Here?
Like the Bobby Doyle track, I have no idea where Jimmy Walker came from or where he want after this soundtrack, but this is another poppy tune that really gets stuck in your head. It's also kind of like Kowalski's theme song . . . "Hooray for the man of vision."

Delaney, Bonnie & Friends - You Got To Believe
This is the Delaney & Bonnie track that seems to have actually been recorded on set and specifically for this movie. If you see the movie you'll notice that an uncredited Rita Coolidge is also part of D&B's religious tribe. In doing research for this post I learned that Delaney Bramlett passed away at the age of 69 just after Christmas. He will be missed. I will definitely be doing a fuller D&B post in the future on Weed, Whites & Wine, so stay tuned.

This really is kinda the perfect soundtrack for Weed, Whites & Wine with its cross-pollination of country and rock and even its overt drug references (Kowalski's marathon car-chase is fueled by pills and he meets the hippy chick and her hippy daddy in search of a refill).

The film is well known enough to illicit numerous tributes, among them a couple of Chrysler employees trying to convince us that their new Challenger is in the mold of the famous white Challenger from the movie.

Or here we have the lead single, "Kowalski" from Primal Scream's 1997 album, "Vanishing Point". If the film wasn't such a cult classic, the references would have probably been over the top, but these guys were clearly fans of the film and Kowalski's heroic story. Their video is a visual homage to the film.

One Monkee Requests a Brief Intermission

2009-01-04T20:31:00.000-08:00

This is a big generalization, but . . . the sharpest, most eloquent and put together types don't make the best musicians. The great musicians usually have some critical character flaw that is compensated for because of their immense creative genius. Rarely do I find that popular music celebrates the soberly insightful straight-talker. In the case of today's highlighted artist, he's been hiding in broad daylight as that dude from the Monkees who wore the dorky stocking cap.

When I first got tipped off to Michael Nesmith as a serious artist I too scoffed. During my road-trip this summer I managed to find his first and third solo albums at a record shop in Nevada City, CA and I took a chance on them. I have yet to amass his entire solo works, but if they are anything like the three albums I do have then I'll be on the lookout for the others. A bit of internet research about the guy and you'll find his credibility is not in question. This interesting article in Swindle Magazine gives a decent overview of his life's work to date.

Like some of the other artists we've highlighted so far on WW&W, the Monkees crew were also very much intertwined in the hippy Laurel Canyon L.A. Rock scene. Fellow Monkee, Mickey Dolenz, was the most notorious Monkee in the canyon, but clearly Papa Nez (his nickname) was tight with some of the L.A. rock luminaries, such as Frank Zappa.

Later, after having pitched the idea of Music Videos to Nickelodeon's parent company (see the Swindle Mag article), he won the first Grammy award for Video in his "Elephant Parts" series of skits. You can buy it here. The previous year his mother, the inventor of liquid-paper, died and left him with over 50 million dollars. Papa Nez also founded the Council on Ideas, a biannual think-tank gathering of distinguished individuals brought together to brainstorm big ideas that can help heal the world.

To get back to my earlier generalization . . . Michael Nesmith is clearly no slouch, but after listening to these handful of tracks I think you'll find that his music is pretty good too. Sure, it's cerebral, but its also very artful and his lyrics are extremely honest and poignant, often showing an emotional maturity that is rarely found in rock music.

Michael Nesmith & the First National Band - Calico Girlfriend
The rockin' lead-off song from Papa Nez's first post-Monkees album.

Michael Nesmith & the First National Band - Nine Times Blue
Just listen to the words on this one. Have you ever heard such a plaintive and honest plea for a forgiveness?

Michael Nesmith & the First National Band - Little Red Rider
And I love how the last song segues right into this funky rock tune.

Michael Nesmith & the First National Band - Joanne
This is the "big hit" from his first album. I love his country-inflected falsetto.

p.s. - these four songs are the first four songs on the album meaning the whole thing is pretty nice.

Michael Nesmith & the First National Band - Nevada Fighter
This is almost like country-prog-rock with its strange and complicated arrangements.

Michael Nesmith & the First National Band - Tumbling Tumbleweeds
A nice version of this classic country tune that you may recognize in another version from the movie "The Big Lebowski."

Michael Nesmith - Different Drum
Papa Nez wrote this song and Linda Ronstadt and the Stone Ponys made it a hit. This is from a later album of his after he disbanded the first and second national bands. This album is stripped down to just Michael on guitar and vocal and Red Rhodes (who played on nearly everything he did during the early seventies) on pedal steel.

Southern Comfort from Area Code 615

2008-12-31T11:27:00.000-08:00

Now for something a bit different . . . I've been pretty California-centric in my selections to date on this still very young blog, but that's not my intent. Sure, most hippie-country music came from the West, but there are a few excellent exceptions that we'll explore in time. Today we're gonna check out the crack studio cabal from Nashville that recorded two albums under the name Area Code 615. The reference, as you can see from the above picture above is to the geographic locality of Nashville. These guys ruled the Nashville studio scene in the 1960s and 1970s and here we see them branching out in a rockier style.

They even played the Fillmore in San Francisco for all the longhairs, despite their cleaner-cut looks and tight instrumental playing. But don't be fooled, this stuff is heavy. The first album had a smattering of cover songs and a few originals, while the second album is more experimental and finds the studio band exploring some more R&B textures with no shortage of interesting drum parts. Who ever said country couldn't be funky too?

Area Code 615 - Southern Comfort
Area Code 615 - Ruby
Here are two great original tunes from their first album. Southern Comfort is kinda a signature tune for them with some excellent soloing and great band cohesion. Ruby just flat out ROCKS! This is like AC/DC from the South.

Area Code 615 - Hey Jude
This is the best cover they've done in my opinion and even rivals the original in terms of building emotion throughout the length of the song.

Area Code 615 - Stone Fox Chase
Area Code 615 - Devil Weed and Me (Buffalo Herd)
Here's where my Soul Spectrum and WW&W interests converge. It's country and funky. Not sure there are any other bands that can come close to this combination of sounds. But feel free to make some suggestions as I'd love to here them.

When the band played the Fillmore in San Francisco in 1970 they got Linda Ronstadt to join them on stage for a couple numbers. She returned the favor and had them back her on a few tracks from her 1970 album "Silk Purse". I picked a couple tracks from these sessions to fill out this post.

Linda Ronstadt - Will You Still Love Me Tomorrow?
A countrified take on this classic Goffin/King tune and check out that phased-out pedal steel!

Linda Ronstadt - Long Long Time
Linda doing her torchy thing on this tasteful arrangement from the AC 615 boys.

Soundtrack to Laurel Canyon

2008-12-17T23:35:00.000-08:00

I'm still kinda trying to figure out where this blog is heading, but for now I'm just letting it take me where it will posting about tunes that I've been listening to that fit the basic format here. I found this article the other day online about Laurel Canyon and a couple of books published in the past few years that cover that scene. I went and picked up Michael Walker's book "Laurel Canyon." I'm digging it so far and I can see some future Laurel Canyon related posts touching on such canyon luminaries as The Turtles, John Phillips and Chris Hillman.

Today we have three bonus tracks from the remastered version of Crosby, Stills & Nash's first album. This might as well be THE Laurel Canyon album. The story goes that Mama Cass matched the disgruntled Hollies' singer, Graham Nash, with the recently formed duo of David Crosby and Stephen Stills and the rest was hippy-dippy three-party harmony. Their first album is classic and needs to be in everyone's collection, but these bonus tracks are also pretty great and worth your attention.

Crosby, Stills & Nash - Song Without Words (demo)
This one is an early demo of a song that ended up on Crosby's first solo album.

Crosby, Stills & Nash - Everybody's Talkin' (previously unreleased)
Cool version of a classic and the only other cover, aside from Joni's "Woodstock", on the album.

Crosby, Stills & Nash - Teach Your Children (demo)
This is a demo for the song that would come out on the super-group's next album "Deja Vu"

An Unlikely Reunion . . . Byrds 1973

2008-12-05T08:58:00.001-08:00

I've only recently come to appreciate The Byrds for all of their greatness. Like many other musical re-discoveries I came in through the back door. First it was because of Gram Parsons and his hijacking of their 1968 album "Sweetheart of the Rodeo". Then it was my discovery of Gene Clark (pictured left) who was the first Byrd to embark on a solo flight. And most recently its been because of David Crosby who's 1970 solo album "If Only I Could Remember My Name" has been blowing my mind as of late. But here I am now taking some cautious, yet curious steps deeper into Byrds territory.

I remember finding their 1973 reunion album in a Brooklyn record store for the low price of $3.99 and upon checking the album details I noticed the following details:
1. Produced by David Crosby
2. Two original Gene Clark tracks
3. Two Neil Young cover tunes

This is what Allmusic.com had to say about it:

"Much of the original material, especially David Crosby's, sounds like cast-offs from their other projects. And what sort of a Byrds album features two Neil Young covers and not a single Bob Dylan tune? . . . But for the most part, Byrds sounds like a competent but unexciting country-rock band going through their paces, rather than the work of one of the best and most innovative American bands of the 1960s."

But I beg to differ. Yes, this is an album of the former Byrds doing their solo thing, but with the added bonus of these country-rock pioneers coming back during the sounds' hey-day to show the youngins (read: The Eagles - not the similarity in names) how it's done. You have the early seventies production and all of the advancements that each of the individuals made in their own careers, plus you get these great songs with those heavenly Byrds harmonies! Upon listening to the album I found the whole thing to be pretty darn good barring Roger McGuinn's contributions and one of Crosby's tunes (the other is a different version of "Laughing" from his solo album I mentioned earlier). But two of the great assets to the album are the Neil Young cover tunes performed by none other than Gene Clark. Not only do you get the Byrds doing Gene Clark, but these are two of my all-time favorite Neil Young tunes. Contrary to the Allmusic review I feel that covering Neil is kinda like the evolution of covering Bob Dylan and it seems like the Byrds intended it to be that way, seeing as these two songs are the only ones not written by Byrds members. Dig it.

The Byrds - Cowgirl in the Sand
The Byrds - (See the Sky) About to Rain

Still Willin'

2008-12-01T07:00:00.001-08:00

I finally got the double-disc "Untitled/Unissued" set by The Byrds and within is their studio version of "Willin'". I haven't waded through the whole set yet, but I have been enjoying me some Byrds lately. Coming up soon are some select cuts from their 1973 reunion album.

The Byrds - Willin'
A much different take here than the Little Feat and Linda Ronstadt versions, but nonetheless classically Byrds in treatment. The vocal here is by Gene (not Gram) Parsons, who had a knack of joining the band that Gram Parsons was just exiting from (Byrds & Flying Burrito Brothers). Gene was the Byrds' drummer from 1968-1972.

This song is a great road song, but its also a classic drug song. I was trying to find the scene from the first season of "Strangers with Candy" where Jerri goes on a a narco-binge before an important test. The psychedelic trip-out scene shows them injecting an acid sugarcube with heroin and then rolling Jerri up into a giant joint as someone else "smokes" her. I couldn't find that scene, but I did find this one, which is from earlier in the episode (I think).

Strangers With Candy

Dopers

Welcome to Weed, Whites & Wine

2008-11-26T09:02:00.000-08:00

Welcome to my first spin-off blog! I pretty much like all kinds of music, though I hardly ever listen to Classical, but one strain of music that I have become more and more obsessed with in the last several years is a style that Gram Parsons dubbed "Cosmic American Music." I don't want to demystify Gram's rather undescriptive term too much, but the kind of music we'll be highlighting here is a little bit country, a little bit rock n' roll, a little bit folk, but all pretty modern, like 1965 and onwards. We're not focusing on roots here. We're focusing on exciting new hybrids that emerged from the 1960s generation's rediscovery of traditional styles like Blues, Country, Gospel and R&B. And this won't be limited to just "American" artists as I have a particular soft-spot for countrified British rock as well, ala Ronnie Lane & Slim Chance (sorry, the song links are dead on that post - stay tuned for more Ronnie).

This inaugural post is the inspiration for the blog's title, taken from the Lowell George song "Willin'". Little Feat recorded the song as "Willing" for their debut album and then re-recorded it for their sophomore album. I would have to say that most times a song is re-recorded by the same band the second version generally pales in comparison, but in this case Little Feat's second take on the song produced the definitive version though many other artists have taken a go at it. Here we have Lowell's good friend Linda Ronstadt doing a faithful cover version of this classic road tune.

The reason I named the blog after this song is because it is the ULTIMATE road-trip song. It merges the freedom of cross-country travel with the longing for permanence, a place to settle down. It describes the best parts of long drives as well as the worst. It taps into the great American tradition of road songs, but injects it with some hippy-era indulgences. It's been covered by every country-rocker from The Byrds to David Allan Coe and Steve Earle. It is truly a "Cosmic American Classic."

Little Feat - Willin'
This is the second version of the song from the band's second album, "Sailin' Shoes." The production on this version is cleaner and the piano line is more prominent than in the earlier version.

Linda Ronstadt - Willin'
Linda's version follows pretty closely the blueprint of the previous version. I like to imagine Linda behind the wheel of a semi-truck "smuggling some smokes and folks from Mexico," which happens to be my favorite line from the song.

Little Feat - Willing
The original version of the song still holds a special place in my heart. I like how the soaring chorus from the later version of "Weed, Whites & Wine" started off in its original version as a plodding, descending laundry list before triumphantly declaring ,"and show me a sign and I'll be willing).

I know that the early 70s were different times, but I cannot imagine long distance driving while ingesting all three of the song's crucial ingredients. Maybe one or two of them at any one time would be fine for me. I imagine the impressionable Little Feat fans found that driving under the influence of Weed, White and Wine frequently resulted in another "W", Wrecks!

VIDEO: Little Feat - Willin'

VIDEO: Linda Ronstadt - Willin'